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BOOKS  ON  ART. 

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I. 

Introduction  to  the  Study  of  Art. 

By  M.  A.  Dwight,  author  of  “  Grecian  and  Roman  Mythology.” 
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\  \  III. 

Schools  and  Masters  of  Painting. 

-^Vith  an  Appendix  on  the  Principal  Galleries  of  Europe.  With 
numerous  Illustrations.  By  A.  G.  Radcliffe.  12mo.  Cloth, 
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for  the  first  time.  The  twelve  great  pictures  of  the  world,  which  are  familiar  by  copies 
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a  special  chapter,  which  affords  a  convenient  stepping-stone  to  a  just  appreciation  of 
the  most  celebrated  masterpieces  of  painting.  An  important  feature  of  the  work,  and 
one  which  may  save  the  traveler  much  time  and  expense,  is  the  sketch  presented  in 
the  Appendix,  of  the  galleries  of  Florence,  Home,  Venice,  Paris,  Dresden,  and  other 
European  collections.” — JV.  Y.  Tribune. 

IV. 

Studio,  Field,  and  Gallery. 

A  Manual  of  Painting,  for  the  Student  and  Amateur ;  with  Infor¬ 
mation  for  the  General  Reader.  By  Horace  J.  Rollin.  12mo. 
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amateur  artists  and  art-students  it  will  be  invaluable  as  a  hand-book  of  varied  infor¬ 
mation  for  ready  reference.” — N.  Y.  Evening  Post. 

V. 

Ruskin  on  Painting. 

"With  a  Biographical  Sketch.  (Forming  No.  29  of  Appletons* 
“  New  Handy-Volume  Series.”)  18mo.  Paper,  30  cents ;  cloth, 
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Italian,  Sicilian,  Majorcan,  Hispano-Moresque,  and  Persian.  By 
Arthur  Beckwith.  With  Photo-Engraved  Illustrations.  Second 
edition.  12mo.  Cloth,  $1.00. 

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HOME  BOOKS. 


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Ilppktons’  Pomt  §0oks. 


HOME  OCCUPATIONS. 


BY 

JANET  E.  RUUTZ-REES, 

AUTHOR  OF  “  HOME  DECORATION,”  ETC. 


NEW  YORK: 

D.  APPLETON  AND  COMPANY, 

1,  3,  and  5  BOND  STREET. 

1883. 


)  / 


I  v?  €  6 


COrTKIGHT  BY 

D.  APPLETON  AND  COMPANY, 
18S2. 


THE  GFTtv  GEfoTEft 


LIBRARY 


%9 

CONTENTS. 


I. — Introductory  ...••• 

II. _ Showing  What  can  be  Done  with  Leather 

m. — The  Possibilities  of  Tissue-Paper  . 

IV. — Modeling  in  Wax. — Flowers  . 

V.— Modeling  in  Wax.— Fruit,  Vegetables,  etc. 

VI —The  Preservation  of  Flowers,  Grasses,  and  Sea-Weeds 

VII. — Spatter-Work  . 

m — Frame-Making  • 

IX. — Collecting  . 

X. — Making  Scrap-Books 

XI.— The  Uses  of  Card-Board  • 

xn. — What  can  be  Done  with  Beads 

XIII. — Amateur  Photography  • 

XIV.  — Miscellaneous  Occupations  • 


page 

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Digitized  by  the  Internet  Archive 
in  2019  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/homeoccupationsOOruut 


HOME  OCCUPATIONS. 


INTRODUCTORY. 

“  The  human  mind,”  says  Cicero,  “ever  longs  for  occu¬ 
pation,”  and  no  one  will  be  disposed  to  question  the  truth 
of  his  assertion.  Its  practical  application  is  familiar  to  us 
all.  “  Give  the  child  something  to  do  if  you  want  to  keep 
him  quiet,”  is  nurse’s  dictum  for  the  management  of  a 
troublesome  youngster,  and  every  mother  knows  how  essen¬ 
tial  it  is  to  provide  occupation  for  boys  and  girls  if  there  is 
to  be  peace  in  the  house.  And  that  which  is  true  of  the 
younger  members  of  the  household  is  true  of  us  all.  Occu¬ 
pation  of  some  kind  is  a  necessity. 

“  The  human  heart  is  like  a  mill  that  goeth  round  and  round ; 

If  it  hath  nothing  else  to  grind,  it  must  itselt  be  ground.” 

And  thus  it  comes  to  pass  that,  apart  from  the  active 
business  and  enjoyments  of  life,  there  is  a  vast  field  for  light 
occupation  ;  and,  while  we  agree  with  Shakespeare  that 
“  pleasure  and  action  make  the  days  seem  short,”  we  recog¬ 
nize  how  many  hours  there  are  in  every  day  which,  in  ordi¬ 
nary  lives,  are  not  spent  in  the  active  pursuit  either  of 
business  or  amusement,  and  which  must  be  filled  up  in 


6 


HOME  OCCUPATIONS. 


some  way.  Our  object  in  this  little  book,  therefore,  is  to 
offer  practical  suggestions  for  making  that  way  a  pleasant 
one  ;  one  that  shall  be,  at  the  same  time,  more  satisfactory 
than  the  mere  exciting  chase  of  amusement,  and  less  irk¬ 
some  than  the  monotonous  pursuit  of  compulsory  employ¬ 
ment. 

Reading  would  naturally  suggest  itself  as  an  occupation 
more  largely  indulged  in  than  any  other  in  leisure  hours ; 
but  that  is  a  matter  which  must  be  dealt  with  in  one  of  two 
ways — either  in  extenso,  as  being  of  grave  import,  with  the 
object  of  self-improvement,  or  as  a  matter  of  mere  inclina¬ 
tion  and  amusement.  In  either  case  it  does  not  come  within 
the  scope  of  our  intention,  and  the  same  may  be  said  of 
accomplishments.  We  limit  ourselves,  therefore,  to  those 
occupations  in  which  agreeable  employment  for  leisure 
hours  can  be  found,  and  which  shall  be  productive  of  pleas¬ 
ant  results,  either  in  the  shape  of  pretty  things  fashioned 
by  clever  fingers,  or  of  valuable  knowledge  acquired  in  the 
pursuit  of  some  favorite  “  hobby.” 


II. 

SHOWING  WHAT  CAN  BE  DONE  WITH 
LEATHER. 

Leather-work  lias  much  to  recommend  it  as  an  occu¬ 
pation.  Easy  to  learn,  it  is  clean  to  work  upon,  and  eco¬ 
nomical,  as  it  neither  chips  nor  breaks  ;  heat  and  moisture 
have  no  effect  upon  it,  and  the  older  it  grows  the  better  it 
is.  In  addition  to  these  merits,  leather  can  be  fashioned 
into  so  many  pretty  things  that  time  spent  upon  it  is  well 
bestowed,  and  the  only  wonder  is  that  it  is  not  considered 
absolutely  indispensable  in  modern  homes. 

In  these  days  of  revival  it  is  interesting  to  learn  that 
working  in  leather  was  a  familiar  occupation  with  the  an¬ 
cients.  The  British  Museum  possesses  specimens  of  em¬ 
bossed  leather  made  by  the  Egyptians  nine  hundred  years 
b.  c.,  and  an  ornamental  cross,  very  finely  wrought  in 
leather,  which  is  said  to  have  belonged  to  a  Coptic  priest, 
640  a.  d.,  is  also  to  be  seen  there. 

Before  entering  upon  a  description  of  the  many  beauti¬ 
ful  and  elaborate  articles  which  can  be  made  of  this  mate¬ 
rial,  we  will  give  a  few  practical  suggestions  for  beginners 
in  the  art,  and  advise  them,  before  they  commence  opera¬ 
tions,  to  provide  themselves  with  the  following  materials  : 

Two  kinds  of  skins,  thick  and  thin,  known,  respectively, 
as  basil-skin  and  skiver-skin  ;  molds  or  shapes  for  berries, 
grapes,  and  funnel-shaped  flowers;  molding-tools  and  wooden 
pestles ;  wire,  and  nippers  for  cutting  it ;  a  hammer  and 


8 


HOME  OCCUPATIONS . 


scissors,  a  knife,  and  a  small  brad-awl  for  piercing ;  a  tool 
for  veining  the  leaves,  and  several  sheets  of  glne,  which 
latter  must  be  soaked  for  a  number  of  hours,  then  heated 
gradually,  and  kept  very  hot  while  in  use. 

Basil-skin  is  the  name  given  to  sheep-skin  when  it  is 
tanned,  and  skiver  is  the  term  used  for  the  soft  pieces  cut 
from  the  edges  when  it  is  trimmed,  or  the  shavings  from 
the  currier’s  bench.  Both  can  be  bought  of  a  dealer  in 
leather,  while  the  tools  required  for  this  work  are  kept  at 
stores  where  the  materials  for  wax-work  are  sold.  A  plain 
deal  board  is  needed  to  cut  the  leather  upon,  for  veining 
the  leaves,  etc. 

The  easiest  thing  for  a  beginner  to  attempt  in  leather- 
work  is  to  copy  a  spray  of  ivy.  It  is  always  best  to  copy 
from  nature  itself.  Not  only  are  much  better  effects  pro¬ 
duced  by  this  means,  but  a  great  deal  of  useful  information 
is  gained  as  to  the  construction  of  flowers,  etc. 

The  first  necessity  is  an  accurate  outline  of  the  spray, 
and  this  is  easily  gained  by  simply  putting  it  on  paper  and 
outlining  it  in  pencil ;  and  this  having  been  done,  the  vein¬ 
ing  of  each  leaf  should  be  copied  as  nearly  as  possible.  The 
pattern  thus  obtained  must  be  laid  perfectly  flat  and  smooth 
upon  the  leather,  and  cut  out  in  the  material  the  entire 
length  of  the  spray. 

By  laying  the'  leather  and  pattern  together  upon  the 
board,  and  holding  them  firmly,  the  outline  can  be  accu¬ 
rately  cut  with  a  knife,  and  by  continuing  to  pare  away  the 
under  side  of  the  leather,  both  leaves  and  stalks  will  be 
thinner  at  the  edges.  The  next  thing  to  be  done  is  to 
moisten  the  leather  thoroughly,  either  by  dipping  it  into 
cold  water  or  by  wetting  it  on  the  surface  with  a  sponge 
until  the  moisture  penetrates  it  sufficiently  to  allow  of  its 
being  readily  molded  into  any  shape  which  may  be  desired. 

In  order  to  produce  the  effect  of  veins,  the  veining-tool 
must  be  firmly  pressed  on  to  the  upper  side  of  the  leather,  and 


SHOWING  WHAT  CAN  BE  DONE  WITH  LEATHER.  9 


then  drawn  sharply  along  and  across  it  with  sufficient  force 
to  give  the  markings  of  the  real  leaf  distinctly.  The  raised 
middle  vein  is  made  by  double  lines.  When  all  the  veins 
are  accurately  marked  as  in  nature,  the  next  operation  is 
to  curl  and  model  the  leaves  into  shape.  A  leaf  of  the 
leather  spray  must  be  taken  in  the  left  hand,  and  the  under 
part  of  it  pressed  with  the  thumb  and  second  finger  of  the 
right  hand,  while  the  forefinger  presses  it  on  the  top,  so  that 
the  leather  is  well  pushed  up  between  the  veins  and  the  edges 
curl  over.  The  stems  and  stalks  are  then  laid  on  the  board 
face  downward,  and  rolled  with  the  palm  of  the  hand  until 
they  are  perfectly  rounded.  The  leather  itself,  when  rolled, 
is  sufficiently  firm,  and  will  not  usually  require  wiring,  and 
when  perfectly  dry  it  will  be  found  that  the  leaves  retain 
their  shape,  as  well  as  all  the  impressions  given  by  the  vein- 
ing-tool.  But,  if  it  is  deemed  desirable  to  make  them  still 
stiffer  and  firmer,  it  may  be  well  to  put  a  coating  of  glue 
over  the  under  part  of  the  leaves,  and  to  glue  up  the  stems 
into  close  round  stalks.  For  the  berries  which  are  probably 
on  the  ivy-spray  the  smallest  molds  come  into  use,  and 
small  circular  pieces  must  be  cut  from  the  thinnest  part  of 
the  leather  and  pushed  into  the  little  round  holes  in  the 
molds,  and  then  turned  quickly  round  and  round  by  the 
smallest  pestle.  It  will  be  necessary  to  moisten  them  thor¬ 
oughly  before  pressing  them  into  the  molds.  After  a  while 
they  can  be  carefully  pulled  out  again  and  left  to  dry,  after 
which  they  require  trimming,  and  may  be  glued  on  to  the 
circles  left  ready  for  them  on  the  spray.  All  berries,  grapes, 
and  small  fruits  are  made  in  this  way.  The  spray,  when 
now  so  far  completed,  is  ready  for  mounting  upon  a  foun¬ 
dation  of  wood.  In  all  probability  the  leaves  will  not  be 
close  enough  to  conceal  the  surface  of  the  wood  entirely, 
and  therefore  it  is  desirable  to  cover  it  by  stretching  a  piece 
of  thin  skiver  completely  over  it.  The  ivy-spray  may  then 
be  placed  in  position,  and,  to  keep  it  steady  until  it  can  be 


10 


ROME  OCCUPATIONS. 


glued,  long  pins  or  furniture-tacks  are  passed  through  the 
stem  and  leaves  and  hammered  firmly  into  the  foundation, 
thus  securing  it  until  it  can  be  glued,  when  the  nails  can 
either  be  removed  by  the  pincers  or  the. heads  broken  short 
off,  the  points  being  left  in  for  further  security.  If  these 
directions  are  faithfully  followed,  the  first  attempt  at 
leather-work  will  prove  so  successful  that  a  more  ambi¬ 
tious  one  will  quickly  be  made. 

It  is  most  important  in  all  operations  in  leather-work  to 
keep  the  glue  very  hot  all  the  time  it  is  in  use,  and  to  as¬ 
certain  the  exact  consistency  required  ;  for  if  it  is  too  thick 
it  will  not  spread  smoothly,  and  if  too  thin  it  is  apt  to  run 
over  and  stain  the  work,  and  glue  stains  are  of  all  things  to 
be  deprecated,  especially  where  staining  and  varnish  are 
not  resorted  to,  and  the  leather  is  left  in  its  original  color. 
The  latter  method  will  be  found  the  most  satisfactory,  as 
upon  exposure  to  the  air  it  becomes  of  a  very  artistic  color, 
which  deepens  with  time. 

If  the  ivy-spray  is  satisfactory  as  the  result  of  a  first  at¬ 
tempt,  a  second  to  reproduce  holly  will  prove  no  less  so. 
In  this  case  the  very  same  method  is  to  be  pursued,  with 
the  single  exception  of  pinching  up  the  leaves  to  give  them 
the  pointed,  prickly  appearance  desired,  instead  of  curling 
and  rounding  them. 

Such  simple  experimental  work  will  have  familiarized 
the  beginner  with  the  use  of  the  implements,  and  accus¬ 
tomed  the  fingers  to  the  manipulation  of  the  material,  and 
something  more  complicated  may  now  be  attempted. 

From  leaves  to  flowers  the  transition  is  easy,  but  even 
simple  flowers  are  somewhat  complicated.  Perhaps  a  rose 
will  prove  as  easy  as  any  to  begin  upon.  In  making  it 
there  are  four  distinct  elements  to  consider — the  corolla 
with  the  petals,  the  calyx,  the  seed-pod,  and  the  accom¬ 
panying  leaf.  To  form  the  corolla,  five  circles  should  be 
cut  out,  two  a  little  smaller  than  the  other  three,  and  each 


SHOWING  WHAT  GAN  BE  DONE  WITH  LEATHER.  11 

must  be  scalloped  in  five  divisions,  to  represent  tlie  petals  ; 
each  division  requires  veining  down  the  center  (see  Fig. 
1  (1)),  and  must  have  a  small  hole  in  the  very  middle  of 
each  circle.  The  petals  must  be  modeled  in  the  hand  with 


a  molding-tool  until  they  are  rounded  like  those  in  na¬ 
ture  ;  the  smallest  of  the  circles  of  leather  is  then  closed  up 
and  the  petals  glued  together,  the  edge  of  one  being  always 
placed  over  another,  and  the  circles  so  modeled  by  the  fin¬ 
gers  that  all  but  two  of  the  larger  ones  are  hollowed  in  the 
inner  side  ;  these  two  are  molded  so  as  to  turn  back,  and 
are  not  so  much  hollowed  as  the  others.  The  rose,  being 
so  far  formed,  is  now  connected  with  the  stalk  by  passing 
the  latter  through  the  small  circle  left  in  the  center  of  the 
petals  and  attaching  a  little  knob  to  form  a  head,  so  that  it 
will  remain  in  place,  and  the  petals  must  then  be  glued  on 
to  the  inner  circles.  The  calyx,  cut  out  as  in  (2),  Fig.  1,  is 
next  slipped  up  the  stalk,  and  the  round  piece  (3),  to  form 
the  seed-pod,  follows.  Leaves  (4)  are  easily  cut  out  on  the. 
spray,  and  buds  are  formed  by  taking  circles  of  three  or  five 
petals  glued  together  and  placing  them  in  a  calyx  and  seed- 
pod.  Little  sharp,  triangular  pieces  of  leather,  doubled  up 


12 


HOME  OCCUPATIONS. 


and  stuck  on  the  stalk  at  intervals,  represent  thorns,  and 
ingenuity  soon  finds  out  new  manipulations  to  add  to  the 
likeness  to  the  flower ;  hut  the  main  point  will  still  be  in 
the  molding  and  shaping  of  the  petals.  A  spray  of  roses 
with  buds  and  leaves  makes  a  pretty  decoration  for  a  pict¬ 
ure-frame. 

Yet  it  may  be  said  that  a  rose  presents  more  difficulties 
than  the  morning-glory,  as  for  this  flower  a  molded  form 
can  be  bought,  and  it  has  no  complex  arrangement  of  inner 
leaves.  The  form  of  the  flower  is  cut  out  as  in  Fig.  2,  the 
skiver  well  moistened,  and  pressed  into  the  mold  with  the 
pestle  in  the  right  hand,  while  with  the  left  every  possible 
wrinkle  is  smoothed  out.  The  leather  is  then  cut  quite  close 


Fig.  2. — Flower  of  Convolvulus  Major. 

round  the  edge  of  the  mold  and  left  to  dry,  and  when  that 
operation  is  completed  it  is  removed  from  the  mold  and 
glued  on  to  the  stalk.  It  is  best  to  cut  a  separate  spray  of 
stalks  for  the  flowers,  buds,  and  tendrils,  snipping  the  points 
of  the  flower-stems  into  stamens  cut  very  thin  and  curled 
while  wet,  and  twisting  the  buds  up  into  points.  Of  course, 
the  stems  and  tendrils  must  he  rounded  while  wet,  and  the 
latter,  if  twisted  round  a  pencil,  will  assume  the  coiled  ap¬ 
pearance  which  is  necessary.  When  dry,  the  stamens  are 


SHOWING  WHAT  CAN  BE  DONE  WITH  LEATHER.  13 


pulled  through  the  flower,  the  calyx  modeled  into  shape 
and  pushed  up  the  stalk,  and  all  are  firmly  glued  together. 
The  flower-spray  is  turned  round  a  spray  upon  which  leaves 
have  been  arranged,  and  the  two  sprays  can  he  mounted 
together.  The  introduction  of  wire  into  the  stems  and 
stalks  is  almost  always  an  improvement,  as  it  makes  it 
easier  to  twist  the  spray  as  may  be  desired. 

The  great  attraction  in  leather-work  is  the  possibility  it 
aifords  of  producing  effects  in  relief.  For  this  reason  it  is 
admirable  for  the  decoration  of  brackets,  and,  if  skillfully 
done,  may  compare  with  the  finest  wood-carving.  Berries, 
fruits,  and  even  birds,  are  successfully  copied  in  this  ma¬ 
terial,  and,  as  a  most  appropriate  sample  of  the  kind,  we 
will  suppose  a  corner  bracket  which  is  to  be  decorated  in 
leather,  and  select  for  the  purpose  a  vine-branch  with  a 
bunch  of  pendent  grapes.  This  will  present  very  few  diffi¬ 
culties  to  those  who  have  successfully  modeled  the  rose  and 
morning-glory.  The  broad  strip  of  leather  selected  for  the 
stalk  must  be  deeply  veined,  folded,  and  twisted  (Fig.  3  (1)), 
and  it  will  be  found  better  to  stuff  it  with  wool  tightly 
twisted  round  with  wire,  so  that  it  shall  afford  a  substantial 
surface  to  be  covered  with  leather ;  from  this  parent  stem 
the  leaves  and  fruit  must  depend,  and  the  easiest  way  will  be 
to  cut  out  the  leaves  at  the  same  time  as  the  branch,  so  that, 
when  folded,  the  stems  may  appear  to  grow  naturally  out  of 
it.  Little  wooden  molds  of  light  wood  are  required  for 
the  grapes,  and  these  are  readily  obtained  ;  they  are  covered 
with  well-moistened  skiver,  which  is  drawn  very  tightly 
round  them  and  tied  firmly  with  cotton  at  the  stalk  end. 
(See  Fig.  3  (3).)  When  they  are  quite  dry,  the  cotton  is 
taken  off  and  the  leather  cut  away,  so  as  to  leave  a  smooth 
point  ready  to  glue  to  the  stalk  or  bunch,  as  the  case  may  be. 
If  the  grapes  are  not  to  hang  down,  they  are  made  in  the 
molds,  like  berries,  and  when  taken  out  are  glued  on  to  a 
piece  of  leather,  the  lower  ones  concealing  the  foundation, 


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and  the  others  being  placed  on  one  above  the  other,  so  as 
to  form,  a  complete  bunch  of  different  sizes.  Great  care  is 


Fig.  3.— Vine  Leaf  and  Stale. 

1,  Stalk  ;  2,  Tendrils;  8,  Hanging  Grapes. 

needed  in  modeling,  veining,  and  rolling  the  leaves  and 
tendrils  of  the  vine,  and  much  of  the  natural  effect  of  the 
clustering  vine  will  depend  upon  the  way  in  which  this  is 
done.  If  the  bracket  for  which  this  effective  decoration  is 
intended  is  in  walnut  or  any  dark  wood,  it  may  be  necessary 
to  stain  and  varnish  the  leather,  in  which  case  burnt  umber 
will  furnish  the  right  color,  and  copal  will  make  excellent 
varnish. 

The  staining  and  polishing  of  leather  to  imitate  various 
woods  is  an  important  branch  of  the  subject,  and  one  that 
can  be  learned  without  much  difficulty.  One  or  two  coat¬ 
ings  of  size  must  first  be  laid  on  with  a  thick  brush  and 
allowed  to  dry,  then  the  coloring  matter  (oil-paint  in  tubes, 
a  preparation  known  as  “  tints,”  sold  for  the  purpose)  is 


SHOWING  WHAT  CAN  BE  DONE  WITH  LEATHER.  15 


carefully  put  on  with  a  stiff-pointed  brush,  and  the  whole 
finished  off  with  a  coating  of  varnish  which  will  dry  quick¬ 
ly  ;  those  varnishes  known  respectively  as  Japan  and  copal 
are  the  best.  Many  authorities  upon  leather-work  advise 
rubbing  the  surface  all  over  with  pumice-stone  or  fine  sand¬ 
paper  before  varnishing  it.  If  it  is  intended  to  imitate 
rosewood,  Venetian-red  scalded  in  vinegar,  or  Vandyke- 
brown  mixed  with  crimson,  to  be  applied  with  a  fine  brush, 
will  give  the  desired  tone  ;  if  walnut- wood,  as  we  have  said, 
burnt  umber  will  be  found  most  satisfactory,  while  for  old 
oak,  a  stain  is  sold  by  that  name  which  is  highly  effective. 
Some  workers  find  that  ordinary  glue  is  not  so  good  in  the 
using  as  size  made  at  home  in  the  following  way  :  Two 
ounces  of  Australian  red  gum,  six  ounces  of  orange  shellac, 
and  half  a  pint  of  spirits  of  wine  should  be  mixed  together, 
put  into  a  bottle  and  corked  tightly.  The  mixture  should 
be  constantly  stirred  until  all  the  gums  are  dissolved,  when 
it  should  be  strained  and  rebottled. 

Ornamenting  leather  in  color  and  gilding  are  difficult 
processes,  for  which  powdered  colors,  gold  and  silver  foil, 
and  bronze  powders  are  required.  To  mix  the  powdered 
colors  the  white  of  egg  and  a  little  white  vinegar  should 
be  used,  or,  if  preferred,  parchment  size,  gelatine,  or  gum 
arabic  in  solution  will  serve  equally  well.  When  the  colors 
are  dry,  a  very  thin  coating  of  varnish  must  be  given.  For 
gilding,  the  gold-leaf  is  laid  on  and  pressed  into  the  leather 
with  a  veining-tool,  or  laid  on  with  gold-size,  as  in  gilding 
wood.  It  is,  however,  very  difficult  either  to  gild  or  bronze 
leather,  and  in  most  cases  we  should  advise  its  being  left  in 
the  natural  color,  or  simply  stained. 

It  is  difficult  to  give  suggestions  for  the  arrangement 
of  complicated  designs  in  leather- work,  as  so  much  depends 
upon  the  use  for  which  they  are  intended.  If  to  decorate 
picture-frames,  for  example,  there  is  always  the  further 
question  of  the  subject  of  the  picture  to  be  considered. 


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Supposing  it  to  be  sacred,  the  passion-flower  is  appropriate 
for  scenes  of  the  crucifixion,  while  the  vine,  the  lily,  and 
the  rose  can  be  fitly  introduced  into  frames  for  allegorical 
subjects ;  and  for  pictures  of  children,  daisies  and  field- 
flowers  are  always  suitable.  Of  those  mentioned,  the  pas¬ 
sion-flower  alone  presents  any  very  great  difficulties,  and 
these  can  be  overcome  by  a  careful  observance  of  directions 
and  attention  to  the  accompanying  diagrams.  The  passion¬ 
flower  is  very  complex,  and  it  will  simplify  matters  to  un¬ 
derstand  thoroughly,  before  commencing  it,  the  various  por¬ 
tions  of  which  it  is  composed.  (See  Fig.  4.)  First  we  have 


8,  Stamens ,  9,  Tendril. 


SHOWING  WHAT  CAN  BE  DONE  WITH  LEATHER.  17 

the  corolla,  with  five  petals  (1)  ;  the  calyx  (2),  with  five 
points  ;  the  involucre,  in  form  of  a  triangle  (3);  the  radiance 
(6),  the  pistil  (7),  the  stamens  (8),  and,  accompanying  the 
flower,  leaves  (5),  tendrils  (9),  and  buds  (4).  The  corolla 
must  he  cut  out  first,  in  one  piece  with  five  divisions  ;  then 
the  calyx,  in  another  similar  one,  somewhat  smaller ;  both 
must  be  veined,  molded,  and  pinched  into  shape.  The 
stalk  must  be  cut  into  three  divisions  at  the  top,  which  are 
rolled  back  and  curled  to  form  the  stigma  of  the  pistil. 
The  stamens  are  cut  in  one  piece,  of  five  points,  each  point 
being  rolled  back  at  the  end  and  pressed  together  to  form 
the  anthers.  A  round,  cut  in  the  thinnest  possible  leather, 
forms  the  radiance  ;  it  is  fringed  by  finely  cutting  in  deli¬ 
cate  strips  nearly  to  the  circle,  as  shown  in  Fig.  4  (6),  while 
the  inner  part  of  the  round  must  also  be  cut  out.  A  thin 
strip  of  leather  is  rolled  round  the  stalk  below  the  stigma, 
and  the  stamens  must  be  pushed  up  to  this  and  glued  under 
it ;  the  stalk  is  then  passed  through  the  radiance  (which 
should  be  glued  to  it  at  a  little  distance  below  the  stamens), 
and  so,  in  turn,  through  the  corolla,  calyx,  and  involucre, 
each  of  which  must  be  firmly  attached  to  the  stalk  and  the 
piece,  above  it,  and  arranged  according  to  nature.  To  form 
the  buds,  small  corollas  with  five  petals  are  cut  out,  and 
the  petals  glued  together,  while  afterward  an  involucre  is 
attached  to  each  bud.  For  the  foliage,  several  leaves  can 
be  cut  out  on  one  spray,  interspersed  with  tendrils,  which 
must  be  twisted  and  rolled  into  coils.  It  adds  to  the  ap¬ 
pearance  of  the  wreaths  if  the  leaves  differ  in  size ;  none 
of  them  should  be  larger  than  that  shown  in  our  plate  (5). 
It  will  be  seen  at  once  that  the  successful  construction  of 
a  passion-flower  will  need  care,  time,  and  patience  ;  but  all 
these  will  be  amply  rewarded  by  the  result.  The  flower 
is  effective  when  finished,  and  the  foliage,  with  the  many 
tendrils,  very  decorative. 

In  contrast  with  the  difficulties  surmounted  in  the 


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making  of  this  flower,  we  have  the  easily  manufactured  fern- 
leaf.  In  this,  at  least,  the  only  difficulty  would  be  in  such 
delicate  manipulation  as  should  make  the  recognition  of  dis¬ 
tinct  specimens  possible.  (See  Fig.  5. )  For  the  ordinary  leaf 
it  is  only  necessary  to  cut  the  form  out  in  thin  skiver,  in  one 
frond,  and  place  a  rolled  stalk,  with  wire  in  it,  down  the 
middle  of  the  back  to  keep  it  in  shape.  The  seeds  in  the 


Fig.  5.— Feen-Leaf. 


polypody  are  imitated  by  punching  the  frond  at  the  back, 
so  as  to  raise  the  surface  in  front.  Leaves,  of  course,  will 
always  present  fewer  difficulties  than  flowers,  and  yet,  to  a 
keen  observer  of  nature,  they  offer  a  wide  field,  for  there  is 
as  much  distinctive  character  in  them  as  in  the  most  varied 
blossoms,  and  in  many  cases  they  produce  a  better  result. 
An  oval  frame  decorated  with  oak-leaves,  for  example,  is 
very  pretty,  the  introduction  of  acorns  enhancing  the  effect. 
Such  a  frame  could  be  made  entirely  at  home,  by  simply 


SHOWING  WHAT  CAN  BE  DONE  WITH  LEATHER.  19 


forming  two  pieces  of  thin  wood,  one  somewhat  smaller 
than  the  other,  in  oval  shape,  as  outer  and  inner  edge,  and 
making  a  foundation  of  trellis-work  between  them,  of  fine 
sticks  laid  one  across  the  other,  and  glued  at  either  end. 
The  frame,  so  simply  made,  can  be  stained  to  imitate  old 
oak,  rubbed  smooth  and  polished,  and  the  decoration  could 
consist  of  a  wreath  of  oak-leaves,  of  different  sizes,  cut 
while  damp  from  thin  skiver,  and  either  pressed  upon 
molds,  if  such  are  possessed,  or  veined,  curled,  and  shaped 
by  hand.  The  acorns  are  best  made  by  obtaining  real  ones 
and  covering  them  tightly  with  skiver,  the  cups  being 
formed  of  leather,  snipped,  cut,  and  pinched,  to  give  a  rough 
appearance.  If  real  acorns  are  not  at  hand,  models  from 
them  must  be  cut  out  in  halves  in  the  leather,  molded, 
stuffed,  and  glued  together.  Generally  speaking,  half  an 
acorn  is  sufficient,  glued  on  to  the  background  ;  but,  where 
the  appearance  of  hanging  is  desired,  each  must  necessarily 
be  perfected,  and  suspended  by  a  small  stalk  to  the  oak- 
spray.  When  finished,  the  wreath  must  be  well  sized  over, 


Fig.  6— Daisy. 


dipped  into  the  oak-stain,  and  varnished,  and  then  fastened 
securely  on  to  the  frame  by  furniture-tacks. 

Wreaths  of  more  simple  flowers  are  pretty  to  crown  pho¬ 
tograph-frames.  For  example,  little  stands  intended  to  hold 
two  or  more  portraits  are  much  improved  by  the  addition 
of  a  few  flowers,  either  as  a  center  bouquet  or  a  wreath, 
aud,  if  they  arc  stained  of  the  same  color  as  the  wood  of 
which  the  frames  are  composed,  it  will  require  an  accurate 


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observer  to  detect  the  material  of  which  they  are  made. 
Daisies  are  cut  out  in  one  circular  piece  (Fig.  6),  with  many 
points  to  represent  the  florets,  each  of  which  is  pared  at  the 
ends  and  veined  underneath,  to  give  the  appearance  of  a 
rib  in  the  center.  The  raised  center  of  the  flower  is  made 
of  a  round  piece  of  leather,  a  little  hollowed  and  pricked 
up,  to  represent  the  compact  mass  of  yellow  in  the  natural 
daisy.  The  forget-me-not  is  still  more  simple.  It  consists 
of  but  one  piece,  cut  with  five  petals,  and  a  thin  stalk,  a 
little  bent  and  pressed  at  one  end,  that  it  may  be  firmly 
fastened  into  the  blossom. 

Next  in  order  of  simplicity  comes  the  fuchsia  (Fig.  7), 
with  its  four-petaled  corolla  (1)  and  four-pointed  calyx  (2), 


Fig.  7.— Fuchsia. 
3,  Corolla  ;  2,  Calyx. 


the  pistil  and  stamens  being  simply  cut  upon  the  stalk  and 
rolled  and  bent  at  the  ends  to  form  the  stigma  and  anthers. 

Before  proceeding  to  a  consideration  of  the  fruits  which 
are  easily  imitated  in  this  material,  we  must  not  forget  to 
mention  one  most  graceful  climbing  plant — namely,  the 


SHOWING  WHAT  CAN  BE  DONE  WITH  LEATHER.  21 


hop — which  is  very  suitable  for  decorative  purposes.  Hops 
are  particularly  pretty  if  arranged  in  clusters  of  six  or  seven 
cones,  with  a  few  leaves,  very  much  and  deeply  veined,  to 
form  a  pendent  ornament.  To  make  the  hops,  five  or  six 
triangular  pieces  should  be  cut  out,  as  in  Fig.  8  (1),  for  the 


Fia.  8. — Hops. 

1,  Large  IIop  ;  2,  Square  of  Leather ;  8,  Perfect  Hop. 


large  ones,  and  smaller  pieces  the  same  shape  for  the  lesser 
ones,  placing  between  each  little  squares  of  leather  (2). 
When  they  are  fitted  together  they  all  appear  of  the  same 
size  in  the  perfect  hop  (3),  the  three  divisions  which  form 
the  top  of  the  cone  being  glued  together  on  the  stalk,  and 
the  others  pushed  up  and  glued  between  them,  a  square 
between  each  keeping  them  in  shape. 

Fruits  of  all  kinds  can  be  admirably  reproduced  in 
leather.  The  larger  ones — such  as  apples,  oranges,  melons, 
pears,  etc. — are  usually  made  over  molds  bought  expressly 
for  the  purpose,  and  which  are  cast  in  gutta-percha  or 
plaster  of  Paris.  They  are  always  in  two  pieces,  and  each 
half  has  to  be  separately  molded  and  stuffed  while  wet. 
Two  fruits,  however,  we  may  mention  as  requiring  differ¬ 
ent  treatment — the  pomegranate  and  the  pineapple. 

The  former  (see  Fig.  9)  is  made  in  eight  compartments 

(1) ,  joined  together  round  a  ball  formed  of  cotton  stuffing 
covered  with  skiver,  an  opening  being  left  to  show  the  seeds 

(2) ,  which  are  molded  in  little  oval  molds  and  glued  on  in 
strips.  A  piece  of  leather  cut  into  tiny  Vandykes  is  laid 


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round  the  top  of  the  ball  to  form  a  crown,  and  this  is  done 
before  the  compartments  are  placed  in  position. 


Pig.  9. 

1,  Compartment  of  Pomegranate  ;  2,  Appearance  of  Pomegranate  when  Finished. 


The  foundation  of  a  pineapple  is  also  a  round  ball  of 
leather,  but  it  is  covered  with  spines  and  scales,  pinched 
and  molded  into  shape  when  glued  upon  it,  to  give  the 
aj^pearance  of  the  conical  erections  of  the  fruit.  Small 
leaves  much  notched  at  the  edges  form  a  tuft  for  the 
crown,  while  the  leaves  which  surround  the  cone  are  folded 
back  at  the  ends,  to  show  the  under  side. 

Architectural  designs  are  often  very  well  reproduced  in 
leather,  and  we  will  call  the  attention  of  amateurs  to  one 
with  which  all  students  are  familiar — the  acanthus-leaf, 
namely,  with  the  accompanying  pod  (see  Fig.  10).  It 
requires  to  be  very  deeply  veined,  and  a  broad  veining-tool 
is  a  great  assistance  in  marking  it.  The  pod  (2)  is  formed 
of  nine  pieces  of  leather  cut  in  long  oval  shapes,  curved 
over  and  laid  side  by  side  upon  a  foundation  ball,  an  open 
space  being  left  at  one  side  to  show  the  seeds,  which  are 


SHOWING  WHAT  CAN  BE  DONE  WITH  LEATHER.  23 


molded  in  small  oval  molds  and  glued  on  in  parallel  rows. 
The  shape  of  a  section  of  the  leaf  is  also  given  (1). 

A  little  practice  and  careful  observance  of  architect¬ 
ural  designs  will  soon  enable  any  one  who  is  familiar  with 
leather-work  to  execute  intricate  designs  ;  but,  generally 
speaking,  a  knowledge  of  the  methods  for  making  flowers 
and  fruit  is  sufficient  for  home  occupation.  The  pointed 
Gothic  molding  which  is  suitable  for  frames  beneath  the 


1,  Portion  of  Leaf;  2,  Open  Pod. 


leather  flowers  and  leaves  is  made  by  taking  double  folds 
of  leather,  cut  in  long  strips  and  pinched  at  intervals  ;  and 

while  still  moist  these  folds  should  be  stretched  on  the  board 
2 


24 


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to  the  shape  they  are  wanted,  and  then  firmly  pinned  in 
that  position  until  they  are  thoroughly  dry.  Every  kind  of 
scroll  and  arabesque  pattern  can  be  imitated  in  this  man¬ 
ner  with  tight  rolls  of  leather  made  in  the  same  way  as 
stalks  and  stems,  and  twisted  into  shape  while  wet.  Birds 
are  imitated  by  stretching  skiver  over  models,  or  by  cut¬ 
ting  out  the  desired  shape  in  two  pieces,  stuffing  it,  and  glu¬ 
ing  it  together  ;  wings,  feathers,  etc.,  being  reproduced  by 
pinching  the  leather,  snipping  and  molding  it  as  may  be 
required. 

The  suggestions  given  sufficiently  indicate  how  many 
opportunities  are  afforded  for  the  use  of  leather-work. 
Picture-frames,  brackets,  boxes,  screens,  cabinets,  and  all 
articles  of  furniture  which  are  ornamented  by  carving,  can 
be  equally  well  decorated  in  this  material.  Moreover,  fret- 


Fig.  11.— Fret-work  in  Leather. 
1,  2,  Designs  for  Brackets. 


work  carving,  which  has  become  so  popular,  can  be  exactly 
reproduced  in  leather.  But  this  material,  if  intended  for 
such  a  purpose,  must  be  of  double  thickness,  and,  to  insure 
accuracy  of  outline,  each  portion  must  be  cut  out  in  du¬ 
plicate,  and  afterward  glued  together  firmly  and  evenly. 

If,  for  example,  a  bracket  were  the  object  selected  to  be 
made  in  leather  fret-work,  each  portion  must  be  cut  out  in 
two  separate  pieces,  which  can  then  be  glued  together  back 


SHOWING  WHAT  CAN  BE  HONE  WITH  LEATHER.  25 


to  back,  so  that  each  side  would  present  a  smooth  surface. 
Fig.  11  (1,  2)  gives  simple  designs  for  backs,  and  the  sup¬ 
port  should  be  of  the  same  pattern  as  the  back.  The  easi¬ 
est  way  to  make  the  support  would  be  to  fold  a  pattern 
for  the  back-piece  directly  down  the  middle,  one  half  of 
which  would  be  the  correct  size  for  the  support.  The  shelf 
should  be  semicircular  and  cut  in  thin  wood,  which  could 
be  covered  on  both  sides  with  skiver.  A  little  practice  will 
suggest  endless  designs,  moldings,  etc.,  for  the  ornament, 
and  after  a  while  elaborate  groupings  of  fruit,  leaves,  or 
flowers  will  follow  as  decoration. 

Skiver  is  admirably  adapted  for  smaller  designs — leaves 
and  simple  flowers — but  for  larger  work  basil-skin  is  neces¬ 
sary,  as  skiver  is  very  thin,  and  usually  only  obtainable  in 
small  lengths. 

Wood  used  for  foundations  should  be  light ;  for  which 
reason  deal  or  beech  are  good  for  the  purpose,  while  oak  is 
too  hard,  and  can  not  be  easily  worked  upon. 

One  caution  may  be  given  to  all  ambitious  workers  in 
leather  :  Avoid  overcrowding  ;  it  spoils  the  effect,  and  a 
great  deal  more  is  accomplished  by  the  judicious  arrange¬ 
ment  of  well-made  flowers,  leaves,  and  fruit,  than  by  a 
medley  in  which  no  distinct  intention  can  be  discerned. 


III. 


THE  POSSIBILITIES  OF  TISSUE-PAPER. 

It  is  surprising  to  find  how  much  can  he  done  by  the 
use  of  the  simplest  means.  A  pair  of  sharp  scissors  in 
clever  fingers  can  so  manufacture  flowers  and  other  articles 
out  of  tissue-paper  that  it  would  require  close  examina¬ 
tion  to  detect  the  material  of  which  they  are  made  ;  and 
there  is  no  pleasanter  occupation  than  that  of  thus  creating 
pretty  things,  and  watching  them  grow  into  beauty  under 
the  hands. 

For  a  worker  who  sits  down  with  the  deliberate  inten¬ 
tion  of  manufacturing  something  desirable  out  of  tissue- 
paper,  a  few  articles  for  use  are  indispensable,  but  they  are 
all  inexpensive,  and  can  be  easily  obtained  at  the  nearest 
fancy  store. 

"We  will  enumerate  those  that  are  absolutely  necessary. 
The  finest  colored  paper  is  known  as  French  tissue  (al¬ 
though  it  is  in  reality  of  English  manufacture,  and  exported 
directly  from  that  country) ;  it  is  sold  in  sheets  of  all  colors, 
and  is  best  bought  in  quantities,  costing  about  sixteen  cents 
a  quire.  Glazed  paper  is  more  expensive,  but  less  of  it  is  re¬ 
quired,  it  being  mainly  used  for  foundations,  and,  in  flower¬ 
making,  for  calyxes,  involucres,  etc.  Stamens,  pistils,  and 
calyxes  can  all  be  bought  ready  made  for  any  flower  that 
is  desired  ;  but  we  would  advise  our  readers  to  make  them 
with  their  own  hands,  first,  because  in  doing  so  they  will 
feel  a  greater  interest  in  their  work,  and  also  because,  after 


THE  POSSIBILITIES  OF  TISSUE-PAPER.  2T 


a  little  practice,  the  home  worker  will  make  these  portions 
of  a  flower  appear  more  natural  than  those  that  are  manu¬ 
factured  wholesale.  Next  in  importance  to  the  colored 
paper  itself  are  the  little  tools  with  which  it  is  to  be  ma¬ 
nipulated. 

Molding-tools,  curling-pins,  and  ball-tools  of  different 
sizes  ;  crimping-tools,  and  a  pair  of  wooden  goffers  ;  scissors, 
wire  of  different  sizes,  a  pair  of  tweezers,  and  a  brick  pin¬ 
cushion,  are  all  easily  procured.  Gum  tragacanth  or  arabic, 
starch  in  powder,  assorted  colors  also  in  powder,  and  raw 
cotton,  complete  the  list. 

The  best  way  to  make  any  artificial  flower  successfully 
is  to  copy  it  directly  from  nature  ;  and,  in  order  to  do  so,  it 
is  best  to  begin,  whenever  it  is  possible,  by  dissecting  real 
flowers  and  reproducing  the  exact  forms  piece  by  piece. 
After  taking  a  pattern  of  a  flower  in  this  way,  each  separate 
portion  should  be  marked  with  its  name,  and  an  account 
kept  of  the  number  of  petals,  shape  of  pistils,  calyx,  etc. 
More  than  three  folds  of  paper  should  never  be  cut  at  once, 
as  it  is  impossible  to  keep  the  edges  even  if  more  are  at¬ 
tempted,  and,  besides  that,  it  spoils  the  fine  edge  of  the 
scissors. 

Some  petals  require  to  be  rolled  upon  a  molding-ball,  or 
pressed  between  the  goffering-tools  ;  others  must  be  notched 
at  the  edges  or  fringed,  these  points  being,  of  course,  de¬ 
pendent  upon  the  form  of  the  natural  flower. 

The  operation  of  crimping  the  paper  is  performed  by 
placing  the  petal  upon  the  brick  cushion,  and  laying  it  in 
plaits  by  taking  hold  of  a  piece  with  tweezers  and  drawing 
them  down,  pinching  the  paper  between  them,  so  that 
crisp-looking  creases,  similar  to  those  in  the  heart  of  a  rose, 
are  produced.  Tweezers  are  better  for  this  purpose  than 
the  fingers,  although  some  people  are  dexterous  enough  to 
manufacture  them  in  that  way. 

The  calyx  should  be  cut  out  in  stiff  glazed  paper,  or  in 


28 


ROME  OCCUPATIONS . 


double  tissue-paper  coated  oyer  with  mucilage  and  colored  ; 
for  the  stamen  and  pistils,  glazed  cotton  thread  is  used, 
which  can  be  waxed,  and  the  ends  first  dipped  in  mucilage, 
and  then  in  the  little  boxes  in  which  the  powdered  colors 
are  kept. 

Some  workers  prefer  to  make  their  stamens  of  horse¬ 
hair,  or  even  strips  of  stiff  paper  rolled  and  gummed,  or 
blades  of  coarse  grass  ;  while  it  is  also  possible  to  copy  the 
pistils  by  covering  thread  wire  with  green  silk,  and  twist¬ 
ing  a  little  pellet  of  wax  or  a  bit  of  cotton  at  the  end, 
which  in  its  turn  is  glazed  over  with  mucilage  and  dipped 
into  color,  and  so  made  green,  brown,  yellow,  or  of  any 
tint  desired. 

The  little  ball  upon  which  the  petals  are  mounted,  and 
which  serves  as  a  basis  for  the  heart  of  the  flower,  can  also 
be  made  at  home  as  follows  :  A  little  pulverized  alum  and 
some  gum  arabic  are  put  into  a  bottle  with  a  wide  neck  ; 
pulverized  plaster  of  Paris  mixed  with  cold  water  together 
with  a  little  sugar  of  lead  is  added,  and  the  whole  mixed  well 
together.  This  preparation  must  be  kept  closely  corked 
up,  and  pieces  cut  off  it  as  required. 

The  mucilage  for  glazing  the  pistils,  etc.,  is  best  made 
of  gum  arabic  and  alum,  with  a  very  little  flour  stirred  in 
water  to  a  thin  paste. 

Furnished  with  these  implements  and  ingredients,  there 
is  no  limit  to  the  pretty  things  the  home  worker  can  con¬ 
struct  in  tissue-paper.  We  will  begin  with  flowers,  and 
suggest  as  the  easiest  to  learn  upon  the  daisy  or  sunflower. 

The  full-blown  meadow  daisy  must  be  cut  out  in  a 
corolla,  with  twenty-three  somewhat  pointed  petals,  each 
one  of  these  being  divided  from  the  next  about  a  quarter 
of  inch  down  the  length.  The  center  is  best  made  either 
over  a  little  plaster-of-Paris  mold,  or  by  covering  a  simple 
button  with  fine  net  and  coating  it  with  cement,  and,  as  it 
dries,  covering  it  with  yellow  mustard-seed  or  seed  beads 


THE  POSSIBILITIES  OF  TISSUE-PAPER. 


29 


set  very  closely  together.  When  these  are  perfectly  dry 
and  firm,  they  can  be  painted  over  with  gum,  or  dipped 
into  the  powdered  yellow  color.  The  daisy-stalk  is  made 
by  twisting  green  tissne-paper  very  closely  round  fine  wire, 
and  fixinsr  it  at  the  back  of  the  heart,  after  which  the 
calyx  is  passed  over  it  and  gummed  tightly  in  place. 

To  make  the  daisy-bud  it  is  only  necessary  to  cut  out 
a  smaller  corolla  and  gum  the  petals  lightly  together  ;  and, 
in  order  to  give  the  pink  tints  natural  to  the  tips,  the  bud 
should  be  lightly  dipped  in  carmine  powder. 

Sunflowers  are  equally  simple  in  construction,  and  the 
same  plan  must  be  followed  with  regard  to  them,  and  to  all 
single  flowers,  the  great  object  being  to  procure  an  exact 
copy  of  the  corolla  and  petals,  and  the  most  natural  color 
possible  in  the  paper.  Every  conceivable  tint  can  be  ob¬ 
tained  in  the  imported  papers,  besides  striped  and  varie¬ 
gated  sheets  intended  specially  for  certain  flowers,  such,  for 
example,  as  the  tulip,  petunia,  carnation,  or  variegated 
poppy. 

It  is  more  difficult  to  make  a  rose  well  in  paper  than  in 
leather,  for,  in  order  to  give  it  a  natural  appearance,  the 
shades  of  color  should  graduate.  More  petals  are  required, 
and  these  should  be  cut  somewhat  larger,  as  most  of  them 
are  molded  one  within  the  other.  Petals  of  five  different 
sizes  are  needed,  as  in  Fig.  12 — ten  of  the  smaller  size  (3), 
five  of  the  larger  (4),  two  of  (1),  and  three  outer  petals  (5) 


Fig.  12. — Petals  of  Pose. 


30 


HOME  OCCUPATIONS. 


of  deeper  tint,  also  of  the  larger  size,  so  that  the  upper  part 
of  the  rose  will  have  the  deepest  color.  Each  set  of  the 
petals  should  be  molded  together  by  being  placed  on  the 
cushion,  and  drawing  the  ball-tool  of  the  right  size  from  the 
top  to  the  bottom  of  each,  thus  hollowing  them  and  giving 
them  the  crumpled  appearance  of  natural  rose-leaves.  The 
edges  of  the  larger  ones  should  then  be  curled  back  with 
the  nippers  or  curling-pin.  A  cluster  of  stamens,  made  as 
directed,  forms  the  heart  of  the  flower,  and  is  gummed 
firmly  on  to  the  plaster-of- Paris  ball,  which  serves  as  a 
foundation.  The  small  petals  are  placed  with  the  larger 
ones  and  gummed  at  the  points,  and  then  put  on  to  the 
ball  all  together,  while  the  larger  outer  ones  are  gummed  on 
separately.  Thread  must  be  twisted  tightly  round  each 
row  of  petals  to  compress  them  sufficiently  to  allow  of 
their  fitting  into  the  seed-pod.  The  calyx  of  stiff  glazed 
paper  is,  of  course,  first  secured  round  the  petals,  and  the 
stalk  made  on  wire  is  then  passed  through  seed-pod  and 
calyx,  and  secured  to  the  heart  of  the  rose. 

To  mount  a  rose  properly  on  a  spray,  leaves  are  of  course 
required,  and  leaves  are  the  most  unsatisfactory  part  of 
paper-flower  making.  It  is  almost  impossible  to  give  them 
a  natural  appearance  if  formed  of  paper,  and  it  is  usual  to 
provide  either  wax  or  linen  leaves.  If,  however,  the  worker 
particularly  desires  to  make  them,  they  should  be  cut  out 
of  stiff  glazed  paper,  moistened,  and  carefully  pressed  into 
leaf-molds,  such  as  those  used  for  leather  or  wax  leaves  ;  a 
wire  can  then  be  pasted  down  the  back,  and  the  whole 
washed  over  with  liquid  cement,  and  then  again  covered 
with  paper  and  once  more  pressed  into  the  mold.  In  this 
way  a  fair  specimen  of  a  leaf  may  be  obtained,  but  it  will 
not  bear  comparison  Avith  those  made  in  wax,  or  manufac¬ 
tured  in  linen. 

Roses  may  be  made  in  all  shades  :  a  pretty  effect  is  pro¬ 
duced  by  mounting  those  of  different  color  together.  A 


THE  POSSIBILITIES  OF  TISSUE-PAPER.  31 

nice  spray,  for  example,  can  be  made  by  taking  a  good-sized 
length  of  wire  and  placing  a  cluster  of  the  wax  or  paper 
leaves  against  it,  then  a  pink  bud  and  a  full-blown  rose. 
They  should  be  tied  closely  with  green  thread,  and  the 
stems  covered  by  twisting  green  paper  tightly  round  them. 
About  an  inch  of  space  should  be  left  on  the  stalk,  and  then 
another  bud  and  more  leaves  can  be  added.  By  bending 
the  stems  carefully  they  can  be  made  to  hang  gracefully 
and  naturally,  and  the  leaves  can  be  curled  and  bent  by 
the  fingers.  A  small  paint-brush,  dipped  in  a  preparation 
of  burnt  umber  and  weak  gum-water,  passed  over  the  stems 
and  leaves,  gives  them  a  natural  look.  The  spray  is  fin¬ 
ished  off  by  rolling  green  paper  closely  round  the  entire 
stalk,  and  brushing  that  over  also  with  the  solution. 

In  making  white  roses  the  paper  should  either  be  tinted 
in  stripes  of  primrose-color  for  the  points  of  the  petals,  or, 
if  white  paper  is  used,  a  little  yellow  chrome  should  be. 
rubbed  in  at  the  edges  j  otherwise  the  dead  white  of  the 
paper  will  appear  very  unnatural.  For  the  same  reason,  in 
constructing  yellow  roses,  either  shaded  paper  must  be  used, 
or  the  petals  must  be  tubbed  over  with  deeper  yellow 
chrome. 

Variegated  roses  are  made  by  mixing  different  shades  of 
paper  together,  and  are,  of  course,  constructed  in  the  same 
way  as  the  others. 

Poppies  present  no  difficulties.  Five  petals  are  cut  out 
of  the  proper  shape,  of  scarlet,  white,  or  variegated  paper, 
and  laid  upon  the  brick  cushion,  each  petal  being  crimped 
round  the  edge  and  then  rolled  and  pressed  with  the  head 
of  a  pin.  A  natural  center  can  generally  be  procured,  but, 
if  not,  it  is  readily  imitated  in  paper  by  pressing  the  top  in 
lines  with  the  crimper,  coloring  it  green,  with  brown  dots 
on  the  top,  and  fastening  it  to  the  stem.  Black  duck- 
feathers  make  excellent  stamens  for  the  poppy  ;  they  should 
be  tied  together  and  arranged  round  the  base  of  the  center, 


32 


HOME  OCCUPATIONS. 


the  petals  being  placed  regularly  round  it  beneath  them. 
The  stems  and  outer  leaves  of  the  bud  will  acquire  the 
bristly  look  natural  to  them  if  they  are  first  dipped  in 
mucilage  and  then  into  green  thread  cut  up  into  very  small 
pieces. 

In  forming  a  pansy,  striking  results  are  obtained  by 
making  one  of  the  petals  of  purple  silk  velvet.  To  form 
the  heart,  an  oblong  knob  of  plaster  of  Paris  is  colored  with 
orange-scarlet,  and  the  petals  are  arranged  round  this  knob, 
one  at  a  time,  four  of  them  being  cut  out  of  paper,  and  the 
fifth  out  of  the  silk  velvet.  The  latter  should  he  well 
gummed  at  the  hack  and  left  to  dry  slowly,  being  pressed 
while  damp  with  a  crimp  down  the  center.  It  will  curl 
over  naturally  as  it  dries. 

The  calyx  should  he  cut  out  of  glazed  paper,  carefully 
turned  back,  while  the  stem  of  the  flower  must  be  gummed 
flat  against  the  back  of  the  plaster-of-Paris  hall,  in  order 
that  the  petals  may  stand  out  as  if  from  a  background. 

Full-blown  chrysanthemums  and  carnations  look  very 
effective  in  paper.  For  the  latter,  the  corolla  is  cut  in 
three  sizes,  that  for  the  foundation  being  the  largest ;  if  in¬ 
tended  to  represent  a  variegated  specimen,  each  petal  is 
colored  in  shaded  tints,  mixed  with  gum- water.  The  largest 
corolla  is  first  placed  on  the  brick  cushion,  each  petal  is 
deeply  veined,  and  the  edges  are  notched  and  crimped. 
The  smaller  petals  are  then  placed  upon  it,  and,  last  of  all, 
those  of  the  third  size,  each  being  crimped  and  veined  in 
the  same  way.  In  making  the  flower  up,  stiff  wire  is  fast¬ 
ened  on  to  one  end  of  an  oblong  ball  of  cement,  and  two 
pieces  of  twisted  feather  are  gummed  upon  it  and  turned 
back  at  the  tips  to  represent  the  anthers  of  the  natural 
flower.  The  circles  with  the  smaller  petals  are  then  ar¬ 
ranged  round  the  ball  and  pressed  closely  together ;  the 
remaining  circles  are  added  by  slipping  them  over  the  stem 
and  pressing  them  tightly  round  the  heart,  while  the  stem 


TEE  POSSIBILITIES  OF  TISSUE-PAPER. 


33 


immediately  below  the  flower  is  covered  with  enough  cotton 
wool  to  fill  out  the  calyx,  which  should  be  cut  out  of  bluish- 
green,  stiff  paper,  and  passed  up  to  its  place,  being  firmly 
pinched  and  gummed  round  the  stem. 

For  the  chrysanthemum  tinted  paper  is  most  effective, 
or,  if  white  is  used,  it  should  be  colored  with  chrome 
in  the  center.  The  points  of  the  petals  are  ribbed  by 
drawing  the  nippers,  slightly  opened,  sharply  down  each, 
taking  several  circles  together  on  the  cushion,  and  mold¬ 
ing  them  all  at  one  time.  They  are  then  separated  and 
gummed  together  on  the  stalk,  the  smallest  being  slipped 
up  first,  and  the  largest  laid  fiat  behind  them.  Five  of 
each  size  of  the  petals  are  required  to  make  a  full-blown 
chrysanthemum,  and  when  completed  it  is  very  light  and 
pretty. 

Directions  for  successfully  making  paper  flowers  might 
be  multiplied  indefinitely,  but  enough  has  been  said  to  start 
a  worker  fairly  in  this  pleasant  occupation,  and  we  will 
mention  only  one  more,  the  hyacinth,  selecting  it  as  being 
a  favorite  for  decorative  purposes,  and  as  one  that  admits 
of  great  variety  of  color. 

The  necessary  materials  are  :  green  glazed  paper  for  the 
calyxes,  tissue-paper  for  the  blossoms,  and  hat-wire  for  the 
stems.  Strips  of  the  tissue-paper  are  cut  in  lengths,  seven 
and  one  fifth  inches  long,  some  being  one  and  a  half  inch 
and  some  two  inches  wide,  and  are  then  cut  in  fringes  about 
three  fourths  of  an  inch  along  one  side,  and  curled  with 
scissors  or  knife.  The  strips  are  then  loosely  rolled  together, 
and  the  calyx  pressed  at  the  bottom  to  give  it  the  shape  of 
the  natural  hyacinths.  There  are  about  twelve  such  blos¬ 
soms  on  each  flower,  and  they  are  secured  in  their  places  on 
the  stem,  which  is  made  of  covered  wire  eight  inches  long, 
by  being  securely  tied  with  cotton  thread,  the  smallest  at 
the  apex,  and  the  others  in  gradations  on  each  side.  The 
addition  of  the  green  leaves  is  a  great  improvement,  and,  if 


34 


HOME  OCCUPATIONS. 


these  are  not  bought  ready  made,  they  can  be  cut  out  in 
strips  of  glazed,  dark-green  paper,  four  fifths  of  an  inch 
wide  and  from  five  to  seven  inches  in  length.  Three  or 
four  are  fixed  round  the  bottom  of  the  flower-stalk,  and 
then  the  longer  ones  are  added  outside ;  the  effect  is  very 
natural,  and  such  hyacinths  arranged  in  pots  are  scarcely 
distinguishable  from  real  flowers. 

The  possibilities  of  tissue-paper  are  far  from  being  ex¬ 
hausted  in  the  construction  of  flowers.  Numbers  of  pretty 
things  can  be  made  of  it,  ranging  from  simple  mats  to 
whole  suits  of  clothes. 

Fancy  balls  have  been  given  more  than  once  in  which 
the  dresses  of  the  guests  have  been  limited  to  those  which 
could  be  made  out  of  colored  paper,  and  the  results  have 
been  astonishing.  But  fashion  bazaars  have  familiarized 
every  one  with  the  artistic  combinations  possible  in  this 
material,  and  probably  no  more  ambitious  wardrobe  than 
that  of  a  doll  would  be  attempted  in  ordinary  homes.  For 
this  purpose  it  is  admirably  adapted,  and  the  growing  girls 
of  the  family  might  learn  a  good  deal  of  the  practical  art 
of  cutting  out  clothes  and  making  up  dresses  by  manufac¬ 
turing  garments  for  the  cherished  dolls,  whose  “  things  get 
shabby  so  very  soon,”  in  the  opinion  of  their  little  owners. 

A  very  pretty  mat  is  now  made  of  tissue-paper  which  is 
known  as  the  Pond-Lily  Mat,  for  which  seventeen  rounds 


Fio.  13.— Water-Lily  Mat. 
1,  Section. 


of  paper  are  needed,  cut  as  in  Fig.  13.  There  should  be 
seven  different  shades  of  color  in  the  mat,  two  rounds  of 


TEE  POSSIBILITIES  OF  TISSUE-PAPER.  35 


each  shade  and  three  of  white.  Each  circle  should  he 
folded  in  four  and  cut  as  in  diagram  (1)  ;  then  with  a  little 
wooden  roller  each  part  must  be  firmly  pressed  upward, 
which  will  give  it  the  necessary  curl.  The  rounds  are  then 
laid  one  within  the  other  and  lightly  gummed  together. 
Another  handsome  mat  is  made  by  taking  four  sheets  of 
silver  paper  and  four  of  rose-color,  cutting  them  into  large 
rounds  and  folding  them  in  four,  cutting  the  outer  edges 
in  small  shavings  and  curling  them  up  over  a  knife,  when 
they  make  a  fully  fringed  border ;  others  again  by  inter¬ 
secting  strips  of  folded  paper  and  fringing  them  at  the 
ends,  or  by  imitating  the  confused  construction  of  a  bird’s 
nest  in  colored  paper,  crimped  and  pinched  up  by  the 
fingers  over  a  fragile  frame-work  of  wood.  Parasols,  bags, 
reticules,  bonbonnieres  for  Christmas-trees,  mottoes,  and 
articles  too  numerous  to  mention,  suggest  themselves  to  the 
industrious  worker  in  tissue-paper,  and  a  new  use  has  lately 
been  found  for  this  material  in  the  decoration  of  glass. 
Designs  carefully  cut  out  in  glazed  paper  are  pasted  upon 
backgrounds  of  light-colored  tissue,  and  laid  upon  perfectly 
clear  glass.  They  are  kept  in  place  by  rims  of  tin-foil, 
which  serve  as  frames,  and  at  some  distance  produce  the 
effect  of  colored  glass,  and  are  admirably  adapted  for  the 
lights  over  a  staircase  window  or  any  other  position  where 
close  scrutiny  is  impossible. 

Lamp-shades  of  colored  paper  are  always  pretty,  and 
can  be  made  very  elaborate  by  tracing  an  intricate  pattern 
upon  them  and  cutting  it  out  with  a  pair  of  very  sharp 
scissors.  Such  lamp-shades  are  beautifully  made  in  Ger¬ 
many,  where  young  ladies  are  celebrated  for  their  dexterity 
with  their  fingers,  and,  by  the  use  of  graduated  colors,  very 
striking  results  are  obtained.  A  simpler  plan  still  is  to 
fold  the  tissue-paper  into  five  portions,  refold  each,  and 
form  a  pattern  of  diamonds  by  cutting  out  diamond-shaped 
pieces,  and  afterward  shaping  out  the  portions  and  fitting 


36 


HOME  OCCUPATIONS. 


them  to  the  lamp.  A  wreath  of  paper  flowers  round  the 
shade  is  a  decided  improvement. 

In  conclusion,  we  would  recommend  such  of  our  readers 
as  live  in  far-away  country  homes  to  study  the  possibilities 
of  tissue-paper  with  regard  to  the  decoration  of  unsightly 
fire-places.  Every  one  dislikes  the  inartistic  combinations 
in  the  shape  of  fire  aprons  which  are  procured  from  stores  ; 
but  no  one  who  has  not  tried  it  can  realize  how  much  is 
to  be  done  by  carefully  cutting  tissue-paper  into  very  fine 
fringes,  and  curling  it  with  a  knife  or  scissors,  and  still 
more  by  dipping  the  fringe  so  cut  into  a  weak  solution  of 
gum,  and  afterward  into  dry  colors,  and  sprinkling  emery 
dust  over  it  while  still  moist.  More  elaborate  fire-boards 
can  be  ornamented  by  flowers  made  by  the  directions  we 
have  given,  and  mixed  with  ferns  and  grasses  ;  and  a  pretty, 
well-arranged  group  of  buds  and  blossoms  will  be  a  pleasant 
reward  for  the  leisure  hours  spent  in  the  occupation  of 
making  them. 


IV. 

MODELING  IN  WAX. — FLOWERS. 

Wax  is  a  more  satisfactory  article  to  work  upon  than 
either  leather  or  tissue-paper ;  more  beautiful  results  can 
be  obtained  by  its  use,  and  every  minute  detail  of  the  thing 
molded  or  modeled  in  it  can  be  reproduced.  This  is  so 
thoroughly  understood  that  great  attention  has  been  paid 
to  the  subject,  and  repeated  experiments  have  resulted  in 
the  manufacture  of  what  is  known  as  “sheet- wax,”  which 
is  specially  adapted  for  the  use  of  those  who,  taking  up  wax 
modeling  as  an  occupation,  are  not  inclined  to  undertake 
the  tedious  operation  of  preparing  the  wax  itself. 

Very  successful  portraits,  both  in  relief  and  in  figure, 
have  been  modeled  in  this  material,  and  artists  in  wax  have 
carried  their  art  to  great  perfection ;  but  few  amateurs 
care  to  enter  upon  this  branch  of  the  work,  and,  therefore, 
leaving  on  one  side  attempts  to  copy  “the  human  face 
divine,”  we  shall  restrict  ourselves  to  a  consideration  of 
the  best  way  to  copy  flowers  and  fruit,  and  to  model  fancy 
articles,  such  as  crosses,  baskets,  etc. 

The  finest  sheet-wax  is  that  known  as  Madame  Scheif- 
fie’s,  which  is  largely  imported,  and  which  is  specially  to 
be  recommended  as  being  less  liable  to  crumble  during  the 
process  of  working  than  any  other. 

The  price  of  the  sheet  varies  according  to  quality  and 
thickness.  Very  thin  wax,  which  is  known  as  “  single,” 
may  be  bought,  of  all  colors,  for  about  ten  cents  a  dozen 


38 


HOME  OCCUPATIONS. 


sheets;  “ extra  double,”  which  is  fit  for  making  leaves/ 
stalks,  and  pond-lilies,  is  higher  in  price,  costing  eighteen 
cents  for  twelve  sheets  ;  and  variegated  wax,  known  as 
“  mottled,”  costs  about  the  same.  In  wax  modeling,  as 
in  everything  else,  it  is  true  economy  to  buy  the  best  ma¬ 
terials  ;  even  if  they  cost  more  at  first,  they  are  less  waste¬ 
ful,  and  produce  better  results. 

In  addition  to  the  wax  itself,  the  following  materials  are 
required  for  successful  wax  modeling  :  Powdered  colors, 
wire  of  different  sizes,  stamens  of  various  kinds  if  the 
worker  is  not  skillful  enough  to  make  them,  sprig-moss, 
frosting,  and  arrowroot.  Tools  are  made  expressly  for  this 
work,  and  are  of  hard  wood,  with  the  exception  of  the  pins, 
which  are  made  of  iron  or  steel  fitted  into  bone  handles. 

Molding-tools  are  sold  by  the  dozen,  in  assorted  sizes, 
for  a  dollar  a  dozen,  or  singly  for  ten  cents  apiece  for  the 
smaller  sizes,  and  eighteen  cents  for  larger  ones,  with  knobs 
at  either  end.  The  steel  pins  set  in  glass  are  only  five  or 
ten  cents  each ;  and  tweezers  and  folders  cost  fifteen 
cents. 

Cutters  of  tin  or  brass  are  needed  in  making  the  smaller 
flowers ;  small,  sharp-pointed  scissors,  a  good  penknife, 
spatulas,  palettes  or  saucers  for  mixing  colors,  camel’s-hair 
pencils,  brushes  of  different  sizes  known  respectively  as 
sable,  veining,  and  Poonah  brushes,  and  a  small  spirit- 
lamp,  will  all  be  needed. 

Wire  can  be  bought  on  spools,  the  white  and  green 
covered  with  cotton  for  ten  cents,  and  covered  with  silk 
for  fifteen  cents  per  spool. 

Molds  for  modeling  fruit  and  leaves,  berries  and  some 
varieties  of  flowers,  cost  from  fifteen  to  twenty  cents  each  ; 
patterns  and  extra  gilt  cutters  vary  in  price  from  ten  to 
twenty-five  cents. 

Powdered  colors  in  small  phials  can  be  obtained  in  every 
shade  and  tint,  the  most  expensive  being  carmine,  which 


MODELING  IN  WAX.— FLOWERS. 


39 


costs  forty  cents,  while  all  others  are  from  fifteen  to  thirty 
cents. 

The  price  of  the  camePs-liair  brushes  is  from  one  dollar 
and  twenty  cents  a  dozen  ;  Poonah  brushes  cost  twenty 
cents  a  dozen  extra,  while  veining  brushes  are  to  be  had 
for  five  cents  a  piece. 

Stamens  and  pistils  can  be  bought,  as  we  have  said,  all 
ready  for  use,  but  wre  can  not  recommend  them.  But,  in 
case  they  should  be  preferred,  it  is  well  to  be  familiar  with 
the  cost,  which  is  about  sixty  cents  for  a  dozen  packages. 
Palette-knives  cost  thirty  cents  ;  sprig-moss  for  roses  and 
buds,  sixty  cents  a  dozen. 

The  sum  total  of  these  various  necessaries  may  seem  a 
little  formidable,  but  the  tools  once  bought  will  last  for 
ever,  and  a  dozen  sheets  of  wTax  will  go  a  long  way  in  mak¬ 
ing  flowers.  All  the  materials  for  modeling  in  wax  can  be 
obtained  at  the  stores  where  artists’  materials  are  kept. 
One  important  consideration  in  working  in  wax  is  clean¬ 
liness,  and  great  care  is  needed  in  molding  it  that  it  may 
not  be  stained  or  soiled.  A  large  apron  should  be  worn, 
and  a  wet  sponge  kept  ready  to  hand,  as  the  fingers  are 
liable  to  become  stained  in  using  the  colors.  A  sheet  of 
clean  paper  should  be  laid  upon  the  table  or  board  where 
the  work  is  carried  on,  and  each  piece  of  wax,  as  it  is  cut, 
should  be  carefully  laid  upon  it  by  itself,  and  covered  with 
paper  until  it  is  wanted.  . 

If  the  stamens  and  pistils  are  of  home  manufacture,  as 
they  certainly  should  be,  they  can  be  made  by  taking  sew¬ 
ing-cotton  of  the  necessary  color  (or  coarse  grass  will  do), 
cutting  it  into  lengths,  and  dipping  each  length  into  starch 
or  glue.  When  perfectly  dry,  these  must  be  dipped  again 
in  melted  wax.  The  anthers  are  easily  made  by  cutting 
tiny  slips  of  wax,  rolling  them  between  the  fingers,  snip¬ 
ping  off  the  ends,  and  pressing  them  upon  the  ends  of  the 
filaments.  They  should  then  be  brushed  over  with  mu- 


40 


HOME  OCCUPATIONS. 


cilage,  and  dusted  with  yellow  powder  to  represent  the 
pollen. 

Pistils  are  a  little  longer,  and  the  anthers  for  these  are 
made  of  green  wax,  molded  by  the  fingers  and  pressed  on 
three  sides  by  the  molding-pin,  then  dusted  over  with  the 
yellow  powder. 

We  have  supposed  the  worker  in  leather  and  paper  to 
be  familiar  with  the  names  of  the  various  portions  of  flow¬ 
ers,  but,  lest  we  should  have  been  mistaken,  we  now  give 
an  explanation  of  each  term  employed  in  our  instructions. 

A  perfect  flower,  then,  consists  of  calyx,  corolla,  sta¬ 
mens,  and  pistils. 

The  calyx  is  the  extension  of  the  stem,  its  divisions 
being  known  as  sepals. 

The  corolla  is  what  is  called  the  flower,  but  is  really  the 
circle  of  leaves  which  forms  the  crown,  and  of  which  each 
of  the  divisions  is  called  a  petal. 

Stamens  are  thread-like  substances,  generally  found 
within  the  corolla,  and  consisting  of  two  parts — &  filament 
and  an  anther,  the  anther  being  the  little  knob  at  the  end 
of  the  filament. 

Pistils  are  the  vessels  in  which  seed  is  formed,  and  are 
found  in  the  center  of  the  flower  ;  the  slender  part  is  called 
the  style,  and  the  stigma  is  the  name  given  to  the  top. 

A  leaf  has  three  parts — the  hlade,  the  footstalk,  which 
connects  it  with  the  stem,  and  the  stipules,  or  small  leaves 
at  the  base. 

The  first  process  in  wax  modeling,  as  in  leather  and 
paper  work,  consists  in  taking  an  accurate  copy  of  the 
flower  or  fruit  which  is  to  be  modeled. 

A  white  camellia  would  be  a  simple  flower  to  begin  with, 
as  it  is  less  fragile  than  some  of  the  smaller  ones.  One 
suggestion  in  regard  to  this  flower  will  be  found  valuable 
in  all  cases — viz.,  that  as  the  object  of  the  worker  is  to 
give  effect  as  a  whole,  every  little  natural  blemish  should 


MODELING  IN  WAX.— FLOWERS. 


41 


be  repeated.  Allowance  must  be  made,  too,  in  cutting  it 
out,  for  difference  of  material ;  no  wax  can  be  quite  as  thin 
as  the  real  petals  of  some  flowers,  and,  as  in  nature  every 
part  fits  closely  to  the  next,  while  in  the  wax  model  a  little 
margin  must  be  allowed  for  fixing  each  petal  in  position, 
the  pattern  should  be  somewhat  larger  than  the  original, 
and  every  petal  of  a  flower  composed  of  a  great  number 
can  hardly  be  copied  ;  many  will  be  hidden  from  sight  by 
the  outer  ones,  but  the  position  of  the  petals,  whether  they 
are  just  behind  others,  or  between  them,  the  correct  num¬ 
ber  in  each  row,  and  every  other  detail,  must  be  noted  and, 
as  far  as  possible,  reproduced. 

The  petals  to  be  copied  should  first  be  laid  on  paper, 
and,  with  a  small  Poonah  brush  lightly  dipped  in  paint, 
touched  round  all  the  edges,  thus  leaving  the  size  exactly 
on  the  paper,  as  in  Fig.  14.  This  is  the  most  accurate 


Fig.  14. 


way  of  obtaining  it,  as  every  inequality  in  the  outline  is  at 
once  detected.  In  cutting  the  wax  out  from  this  paper 
pattern  a  small  margin  must  be  allowed  for  fixing  the  petal 
on  to  the  stalk.  The  lines  of  the  wax  should  always  run 
upwards,  and  not  across  the  petal,  for  which  reason  the 
upper  part  of  each  paper  petal  must  be  laid  on  the  narrow 
part  of  the  sheet  and  the  wax  cut  round  it  with  a  sharp 
pair  of  scissors. 

If  the  wax  seems  brittle,  it  is  well  to  warm  it  a  little 
with  the  hand  before  attempting  to  cut  it,  and  the  scissors 
may  be  moistened  so  that  they  shall  not  drag  any  of  the 
wax  and  so  produce  an  uneven  edge. 


42 


IIO ME  OCCUPATIONS. 


In  every  case  where  it  is  possible,  flowers  should  be 
modeled  from  life,  for  no  pattern  that  can  be  given  is  so 
reliable  as  Nature  herself ;  hut  as  this  can  not  always  be 
done,  the  diagrams  given  in  Fig.  15  may  be  acceptable  as 
the  most  accurate  pattern  attainable  for  the  camellia. 

Fifty-four  petals  (Fig.  15,  1  to  12)  in  all  will  be  re¬ 


quired  in  white  wax — five  of  those  marked  8,  five  of  9, 
twenty  of  No.  7,  three  each  of  5,  G,  4,  3,  2,  and  three, 
for  the  outer  petals,  of  No.  10.  Three  of  No.  11  are 
needed  in  lemon-colored  wax,  and  three  in  green,  of  No.  12, 
for  the  calyx. 

The  wax  must  first  be  softened  by  being  rubbed  in  the 
hand  ;  white  bloom-powder  is  then  to  be  thoroughly  rubbed 
on  both  sides  of  each  petal,  leaving  only  the  part  where  it  is 
to  be  attached  to  the  stalk  untouched,  as  the  powder  de¬ 
stroys  its  adhesiveness.  The  first  six  sets  of  petals  should 
be  lightly  touched  with  the  palest  yellow  powder,  either 
with  a  brush  or  the  tip  of  the  finger,  and  shaded  off  at  the 
upper  part,  the  deeper  color  graduated  to  a  mere  tint  at 
the  edges,  to  imitate  the  shade  cast  by  each  petal  on  the 
one  lying  outside  it  in  the  natural  flower.  The  three  outer 
petals  (No.  10)  require  a  dash  of  green  powder  up  the  center 
of  each,  and  a  tinge  of  pink  on  the  upper  edges ;  and  the 
petals  of  the  calyx  need  a  little  brown  marking  to  give  the 
effect  of  the  discoloration  natural  to  them. 


MODELING  IN  WAX.— FLOWERS. 


43 


The  smallest  petals  (Nos.  1,  2)  must  be  molded  with  the 
smallest  curling-pin,  by  passing  the  knob  first  round  the 
edge  of  each  to  fine  it  off,  and  then  rolling  it  round  the 
center  in  the  palm  of  the  hand,  hollowing  it  out  till  it  is  of 
the  shape  of  a  spoon,  then  creasing  it  by  laying  the  pin  all 
along  the  center  of  the  petal.  Nos.  5  and  6,  and  7,  8,  and 
9,  require  less  molding,  and  are  turned  back  by  a  slight 
depression  in  the  center,  made  by  the  thumb  and  finger. 
Each  petal  should  have  a  crease  down  the  center.  The  re¬ 
maining  petals  all  require  to  be  slightly  hollowed. 

A  thick  piece  of  wire  is  now  taken  to  form  the  stalk, 
which  must  be  covered  with  a  strip  of  white  wax  for  about 
three  quarters  of  an  inch,  and  bent  back,  again  to  be  cov¬ 
ered  with  wax  and  molded  in  the  hand  to  form  a  bud,  like 
a  rose-bud,  which  will  serve  as  the  center  for  the  flower. 
The  first  three  petals  are  placed  upon  this  foundation,  and 
adhere  to  it  on  slight  pressure  ;  the  other  small  ones  stand 
up  round  them,  each  petal  a  little  behind  and  between  the 
inner  ones.  As  they  may  not  adhere  quite  sufficiently,  nar¬ 
row  strips  of  wax  are  molded  by  one  of  the  wooden  tools 
round  the  base  of  each  row  of  petals.  Care  must  be  taken 
to  place  each  succeeding  row  of  petals  sufficiently  high  to 
be  seen  a  little  above  the  last,  with  the  exception  of  the 
three  outer  ones,  which,  of  course,  will  not  show  in  front 
of  the  flower.  The  sepals  of  the  calyx  are  then  put  on  in 
the  same  way,  and  kept  in  place  by  a  narrow  strip  of  green 
wax,  the  junction  being  hidden  when  the  wire  stalk  in  its 
turn  is  covered  with  strips  of  dark  green  wax  carefully 
molded  round  it  by  a  wooden  tool.  The  stalk  can  be  bent 
naturally,  and  two  leaves,  made  as  we  shall  direct,  will  ac¬ 
company  the  flower. 

There  are  various  ways  of  making  leaves,  the  simplest  of 
which  is  the  best.  Two  sheets  of  green  wax,  to  match  the 
upper  and  under  surfaces  of  the  leaf  in  color,  should  be 
held  firmly  in  the  hand,  while  between  them  a  stalk  of  mid- 


HOME  OCCUPATION'S. 


44 

dle-sized  wire  is  placed,  covered  with  the  narrowest  possible 
strip  of  wax,  which  must  be  long  enough  to  be  attached  to 
the  entire  stalk.  The  leaf  to  be  copied  is  then  laid  upon 
the  wax,  which  is  cut  to  its  exact  size,  the  wire  stalk  being 
kept  in  the  center.  The  real  leaf  is  firmly  pressed  against 
the  wax  one,  and  together  they  are  held  near  the  fire  until 
the  perfect  impression  of  the  leaf  is  left  upon  the  wax. 
They  should  then  be  dipped  into  cold  water,  when  the  real 
leaf  can  be  easily  removed  after  the  wax  copy  has  been 
notched  round  the  edges  and  rolled  perfectly  smooth  with 
the  knob  of  the  smallest  curling-pin.  The  wire  leaf-stalk 
is  now  to  be  covered  with  a  narrow  strip  of  wax  and  fast¬ 
ened  to  the  flower-stalk  in  its  proper  position,  the  front  or 
upper  portion  of  the  leaf  being  always  placed  against  the 
side  of  this,  and  bent  into  the  right  shape  afterward. 
Other  strips  of  narrow  green  wax  may  be  needed  to  hold 
leaves  and  stalk  firmly  in  position,  in  which  case  they  must 
be  carefully  and  closely  molded.  A  little  liquid  brown 
paint  is  then  made  by  mixing  some  of  the  powder  of  that 
color  in  thin  gum-water,  and  the  stalk  is  lightly  brushed 
over  with  it,  thus  giving  it  the  natural  appearance. 

To  complete  the  spray  with  the  addition  of  a  bud,  three 
or  six  of  the  smaller  petals  must  be  cut  out  in  lemon  or  pale 
green  wax,  according  to  size  and  color  desired,  and  must  be 
bloomed  and  tinted  in  the  same  way  as  the  flower-petals, 
molded  and  fixed  to  a  foundation  bud  of  wax,  being 
pressed  closely  round  it  so  as  to  form  a  solid  bud. 

This  bud  in  its  turn  is  to  be  attached  to  the  flower- stem 
in  the  same  way  as  the  leaves,  and  should  be  placed  in  po¬ 
sition  before  they  are  added. 

Colored  camellias  are  made  in  the  same  way,  the  varie¬ 
gated  ones  having  stripes  of  carmine  and  pink  powder  upon 
the  white  petals,  rubbed  in  or  laid  on  with  a  small  sable 
brush,  while  red  ones  are  colored  throughout  with  mad¬ 
der,  pink,  and  carmine,  each  being  shaded  off  to  the  req- 


MODELING  IN  WAX.— FLO  WERS. 


45 


uisite  tone  of  color.  Bloom  is  not  needed  for  colored  ca¬ 
mellias. 

Small  flowers  require  great  delicacy  in  manipulation. 
Jessamine  (Fig.  16),  which  is  very  simple  in  construction, 
is  for  this  reason  more  difficult  for  a  beginner  than  the 
camellia  ;  and  although  it  consists  of  but  few  portions,  they 
are  so  fragile  that  the  greatest  care  is  needed  in  molding 
them. 

The  five  petals  of  the  jessamine  are  bloomed  and  tinted 
at  once  on  both  sides  by  mixing  a  very  slight  portion  of  the 
lightest  yellow  powder  with  the  bloom  on  a  palette-knife  ; 
they  are  then  molded  with  a  curling-pin,  and  placed  round 
the  pistil  (stamens  are  not  visible  in  this  flower).  The  back 
of  the  flqwer  must  be  nicely  smoothed  and  molded,  and  a 
strip  of  white  wax  rolled  round  the  upper  part  to  make  a 
smooth  tube,  which  is  to  be  painted  pink  with  a  Poonah 


Fio.  1G. — White  Jessamine. 

1,  Pistil ;  2,  Calyx. 

brush  dipped  in  liquid  paint.  The  calyx  is  cut  out  in  one 
piece  (Fig.  16,  2),  and  tinted  at  the  top  of  the  sepals  with 
brown  paint. 

Five  leaves  are  necessary  on  the  stalk — a  cluster  of  three, 
and  then  two,  together.  They  are  molded  as  described  for 
camellia-leaves,  but  the  edges  of  the  leaves  must  be  tinged 
with  brown,  or  a  slight  tinge  of  carmine  laid  on  over  brown 
will  have  the  same  effect. 


46 


HOME  OCCUPATIONS. 


Pinks  are  easily  made.  The  petals  require  blooming  on 
both  sides,  and  the  center  of  each  should  be  tinged  with 
green.  There  are  in  all  twenty-five  petals,  of  sizes  varying, 
as  in  Fig.  17,  in  each  flower,  and  these  are  fitted  round  a 
stalk,  from  which  two  long  white  stamens  (8)  spring.  These 
stamens  should  be  formed  of  wax  molded  over  a  fine  but 


Fig.  IT. — White  Pink. 


1,  2,  3,  4,  5,  Petals  ;  G,  Scales  ;  7,  Calyx ;  8,  Stamens. 


stiff  foundation.  A  strand  from  a  feather  answers  admirably, 
and  can  be  curled  back  at  the  tips  with  curling-pins.  The 
petals  are  arranged  one  exactly  behind  the  other  in  five 
rows,  each  row  being  securely  molded  to  the  stalk  with 
strips  of  wax,  some  bent  and  twisted  forward,  some  curling 
back.  They  are  often  irregular  in  nature,  and  all  such 
irregularities  should  be  carefully  copied  wherever  possible. 
When  the  flower  is  finished  it  should  be  dusted  over  with 
frost.  The  green  calyx  is  lined  with  white,  or  with  a 
scarcely  perceptible  tone  of  green,  and  this  lining  is  allowed 
to  appear  above  the  points.  Four  small  scales  (6)  are  put 
on  at  the  bottom  of  the  calyx  and  spotted  with  brown  paint. 
Buds  are  made  by  closing  smaller  petals  over  a  foundation 
bud,  and  the  leaves  should  be  of  blue-green  wax  strips 
doubled  and  creased  with  the  fingers.  They  do  not  need 
to  be  wired,  but  look  better  if  frosted  over. 

Colored  pinks,  and  many  carnations,  can  be  well  made  in 


MODELING  IN  WAX.— FLOWERS. 


47 


the  same  way,  the  difference  consisting  merely  in  omitting 
the  bloom  and  tinting  or  painting  the  petals.  The  clove 
carnation  is,  however,  one  exception  to  this  rule.  It  is  very 
difficult  to  reproduce  it  accurately  in  wax,  and,  if  this  is 
attempted,  the  petals  should  be  brushed  over  with  crimson 
powder,  painted  with  a  mixture  of  carmine  and  ultrama¬ 
rine,  and  then  dusted  with  carmine. 

When  two  colors  are  needed,  they  should  always  be 
thoroughly  incorporated  upon  the  palette  before  using,  and 
never  painted  on  one  after  the  other. 

Eoses  can  be  very  effectively  copied  in  wax.  Of  them  all, 
the  easiest  is  the  common  pink  or  monthly  rose  (Fig.  18). 


Fir,.  18. — Monthly  Rose. 

1,  2,  3,  4,  5,  Petals ;  6,  Calyx  Sepal. 


The  sole  difficulty  in  making  these  flowers  is  in  the  mold¬ 
ing,  as  almost  all  rose-petals  are  more  or  less  crumpled,  and 
it  is  not  easy  to  give  them  a  natural  appearance.  To  effect 
it,  the  petal  should  be  laid  on  the  palm  of  the  hand  or  on 
one  finger,  and  the  edge  smoothed  out  with  the  head  of  the 
curling-pin  until  it  is  perfectly  flat ;  then  the  roller  must  be 
passed  down  the  center,  and  the  pin  pressed  down  the  line 
to  form  an  indentation.  The  upper  edge  must  next  be 
curled  over  or  under,  as  the  case  may  require,  which  is  best 
done  while  the  wax  is  softened  by  the  heat  of  the  hand. 
The  outer  petals  will  often  require  more  crumpling  by  the 
fingers  ;  the  edges  in  the  natural  llower  may  have  little 


48 


HOME  OCCUPATIONS. 


pieces  bitten  out  by  insects,  and  such  blemishes  should  all 
be  carefully  copied.  A  thick  stalk  of  wire  is  prepared,  as 
in  the  case  of  the  camellia,  with  a  wax  knob,  and  the  two 
smallest  petals  are  wrapped  entirely  round  it,  the  rest  being 
also  arranged  round  it,  just  touching  each  other  at  the  up¬ 
per  edges,  each  row  being  firmly  secured  in  its  place  by  a 
narrow  band  of  wax.  Every  succeeding  row  of  petals  is  so 
arranged  as  to  appear  above  the  last,  with  the  exception  of 
the  three  outer  ones,  which  need  not  show  in  front.  The 
calyx  has  five  sepals  Fig.  18  (6),  and  these  should  be  cut  in 
two  shades  of  green,  snipped  at  the  edges  and  well  molded 
with  the  hand,  and  so  passed  up  the  stalk  that  the  points 
may  come  over  the  three  outer  petals. 

The  seed-pod  is  made  by  rolling  a  double  strip  of  green 
wax  round  and  round  the  wire  stalk,  and  molding  it  with  a 
tool  to  the  right  shape.  If  little  green  buds  accompany  the 
rose,  they  are  made  by  cutting  out  a  calyx  with  five  sepals 
and  fixing  them  round  a  foundation  bud  of  wax,  which  is 
mounted  upon  a  stalk,  and  then  closing  them  at  the  points  ; 
if  they  are  to  present  the  appearance  of  a  half-opened  bud, 
three  petals,  colored  pink,  must  be  put  in  before  the  calyx 
is  fixed,  and  a  smaller  seed-pod  is  made  similar  to  that  for 
the  full-blown  rose  and  molded  in  the  same  way. 

The  leaves  are  made  as  already  described  for  camellia- 
leaves,  great  care  being  needed  in  copying  the  exact  veining, 
notches  at  the  edges,  etc. 

It  would  be  impossible,  in  so  small  a  book  as  this,  to  give 
detailed  directions  for  any  great  variety  of  flowers.  A  little 
practice,  and  the  experience  gained  by  one  or  two  mistakes, 
will  be  more  valuable  than  pages  of  description.  We  will 
content  ourselves,  therefore,  by  mentioning  two  flowers 
which  are  much  admired  in  wax,  and  which  can  be  most 
successfully  modeled  from  directions.  Of  these  the  fuchsia 
is  one.  The  corolla  and  calyx  must  both  be  cut  out  of 
thick  wax  ;  the  calyx,  indeed,  should  be  of  double  wax.  It 


MODELING  IN  WAX.— FLOWERS. 


49 


is  the  principal  portion  of  the  flower,  and  requires  very 
careful  molding.  The  sepals  (see  Fig.  19,  2,  3)  must  be 
bloomed  entirely  on  the  outer  side  and  partially  on  the 
inner ;  the  petals  of  the  corolla  (4,  5)  must  be  rubbed  with 


Fig.  19.  -  Tek  Fuchsia. 


1,  Corolla ;  2,  3,  Sepals ;  4,  5,  Petals. 


color  and  not  bloomed,  and  the  peculiar  shade  is  acquired  by 
a  mixture  of  color — madder  rose  and  carmine — or,  if  they 
are  of  very  deep  violet,  they  should  be  first  tinged  with  car¬ 
mine  in  the  center,  and  then  have  purple  powder  rubbed 
into  the  edges.  The  petals  require  to  be  molded  and  hol¬ 
lowed  ;  some  are  put  on  in  pairs,  others  lap  over  one  an¬ 
other.  The  tube  of  the  fuchsia  is  made  by  rolling  strips  of 
white  wax  over  the  stalk  and  coloring  it  afterward  ;  in  this 
case  the  corolla  is  cut  out  all  in  one  (1)  and  passed  up 
over  the  stalk.  The  pistil  is  formed  of  very  thin  white  or 
green  wire,  long  enough  to  form  the  stalk  of  the  flower, 
and  covered  with  the  narrowest  possible  strip  of  white  wax, 
a  little  knob  at  the  end  forming  the  stigma.  The  stamens 
are  composed  of  lengths  of  cotton,  thick  or  thin,  as  may  be 
needed,  dipped  in  melted  wax.  Eight  are  needed  for  each 
blossom,  four  being  shorter  than  the  others  ;  thickened 
points  represent  the  anthers,  which  are  dipped  in  gum  and 
yellow  powder,  the  stamens  themselves  being  colored  pink 
or  red. 


50 


HOME  OCCUPATIONS. 


The  seed-pod  is  made  of  a  little  ball  of  green  wax  pushed 
up  to  the  calyx  and  modeled  by  the  fingers.  Large  buds 
are  formed  of  sepals  (2,  3)  fastened  at  the  points  over  foun¬ 
dation  buds ;  small  ones,  of  foundation  buds  only,  formed 
of  white  or  green  wax. 

The  second  flower  which  we  will  particularize  is  the 
beautiful  lily  of  the  valley  (Fig.  20),  which  is  made  either 
by  cutting  out  a  straight  piece  of  white  wax  for  the  corolla 
(see  No.  1),  molding  and  joining  it,  and  curling  back  each 
of  the  notches  with  a  curling-pin,  or  by  dipping  the 
rounded  ends  of  pencils  of  different  sizes  in  melted  white 


Fig.  20. -Lilt  of  the  Valley. 
1,  Corolla  ;  2,  Perfect  Flower. 


wax  after  immersing  them  in  cold  water  (2).  The  little 
bells  congeal  round  the  cold,  wet  pencil,  and  are  easily  re¬ 
moved  when  cold,  and  notched  and  curled  into  shape. 
The  bells  must  vary  in  size,  and  tiny  stalks  are  passed 
through  each,  headed  by  the  pistil  and  six  little  stamens. 
The  smallest  flowers  and  buds  are  placed  at  the  top  of  the 
flower-stalk,  the  larger  ones  at  intervals  on  either  side,  and 
small  leaflets  are  arranged  at  the  base  of  each  bell-stalk. 
There  are  usually  thirteen  flowers  upon  each  stem,  and  the 
leaves  that  accompany  the  lily  of  the  valley  are  deeply 
lined  from  the  stalk  to  the  tip  with  parallel  lines. 

Many  of  the  loveliest  heaths  and  bell-flowers  can  be 
copied  in  this  way,  and  wooden  molds  can  be  bought  for 
others,  which  are  formed  by  dipping  them  into  melted 
wax.  The  stephanotis  is  one  of  these,  the  star  being  cut 
out  in  one  piece  with  five  petals  and  joined  on  to  a  molded 
tube. 


MODELING  IN  WAX.— FLOWERS. 


51 


The  possibilities  of  modeling  flowers  in  wax  can  not  be 
limited.  Not  only  have  we  to  consider  the  numberless  gar¬ 
den  flowers  with  which  every  one  is  familiar,  but  there  are 
the  countless  beauties  of  the  woods.  Wild  flowers,  born,  as 
it  often  seems,  only  to  die  in  an  hour,  can  be  perpetuated  in 
wax,  and  it  is  difficult  to  overestimate  the  knowledge  of 
Flora  that  can  be  gained  in  this  way.  Any  one  with  a  love 
of  botany  could,  by  copying  specimens  accurately,  acquire  a 
most  valuable  collection,  which  might  prove  more  satisfac¬ 
tory  than  any  furnished  by  dried  specimens.  As  a  guide 
to  the  formation  of  wax-flowers,  we  subjoin  diagram  pat¬ 
terns  for  several  of  the  most  popular  (Fig.  21),  and  suggest 
in  addition  that  any  flower,  even  the  most  intricate  and  dif¬ 
ficult,  can  be  copied  by  taking  a  natural  specimen  to  pieces. 
Mignonette,  the  least  easy  of  all  flowers  to  describe,  can  be 
reproduced  by  this  means  so  accurately  as  to  deceive  a  keen 
observe!’. 

In  making  up  bouquets  of  wax-flowers,  care  should  be 
taken  not  to  mix  together  those  that  bloom  at  different  sea¬ 
sons,  and  wild  flowers  and  garden  flowers  look  better  ar¬ 
ranged  separately. 

The  pond-lily  is  generally  grouped  by  itself.  Regular 
stands  are  sold  for  it,  with  rounded  shades,  and  are  usually 
furnished  with  a  foundation  of  a  mirror-plate,  in  which  the 
beautiful  flower  is  reflected.  The  under  portions  of  the 
blossom  and  the  crimson  lining  of  the  leaves  are  thus  dis¬ 
played  to  advantage,  and  the  pond-lily  appears  to  be  floating 
in  its  natural  element.  If  the  stems  for  these  flowers  and 
buds  should  be  of  the  spiral  kind,  a  sort  of  undulating 
movement  is  the  result,  which  gives  a  still  more  natural 
appearance  to  the  flower. 

Wax  is  expressly  made  for  the  purpose  of  modeling 
pond-lilies  ;  it  is  thicker  than  ordinary  sheet-wax  ;  but  even 
this  requires  to  be  used  in  threefold  thicknesses,  and  before 
cutting  out  the  petals  the  wax  is  thus  folded  and  rolled  out 


52 


HOME  OCCUPATIONS. 


until  it  is  perfectly  smooth  and  even.  When  the  petals 
have  been  accurately  cut  out,  they  are  all  rubbed  over  with 


a,  a,  Primrose ;  b,  b,  Violet ;  c,  c,  Snowdrop ;  d ,  d,  Honeysuckle ;  e,  e,  Convolvulus  ;  /, 
Small  Bindweed  ;  g,  Hawthorn  ;  It,  Forget-me-not  ;  k,  Laburnum  ;  l,  l ,  Daisy;  m, 
IlyaciDth  ;  n,  n,  n,  n,  n,  Passion-Flower  ;  o,  o,  Azalea. 


white  bloom,  with  the  exception  of  four  in  the  fourth  row, 
which  are  stained  straw-color.  The  large,  flat  heart  of  the 


s/Jiiijil 


MODELING  IN  WAX.— FLOWERS.  53 

flower  must  be  formed  of  yellow  wax,  indented  with  the 
curling-pin  and  molding-tools,  and  the  stamens  are  to  be 
cut  out  and  molded  in  two  sizes  and  colored  in  two  shades 
of  yellow  chrome.  The  sides  and  edges  of  each  stamen 
should  be  pinched  together,  and  they  are  put  on  in  rows 
round  a  foundation  ball.  The  leaves  and  some  of  the  pet¬ 
als  of  this  flower  are  lined  with  different  colors,  the  outer 
lining  of  the  leaf  being  of  dark  green,  and  the  inner  of 
amber.  To  produce  this  effect  in  any  flower,  the  best  way 
is  to  cut  out  two  impressions  of  the  petal  or  leaf,  and 
place  a  piece  of  muslin,  exactly  the  same  shape  and  size, 
between  them,  pressing  the  edges  closely  together. 

As  handsome  stands  and  shades  for  the  pond-lily  are  ex¬ 
pensive,  a  suggestion  may  be  given  for  making  one  at  home 
which  may  answer  the  purpose  equally  well.  A  stand  can 
be  made  about  one  foot  square,  of  smooth  wood,  on  the  cor¬ 
ners  of  which  a  groove  is  cut  to  receive  the  shade.  The  wood 
should  be  stained  with  a  preparation  of  logwood,  and  after¬ 
ward  washed  over  with  vinegar  in  which  a  rusty  nail  has 
been  placed  for  several  days,  which  will  give  it  the  appear¬ 
ance  of  ebony.  It  must  then  be  rubbed  with  emery-powder 
and  varnished,  afterward  polished  with  a  wet  woolen  pad 
dipped  in  pumice-stone,  and  then  varnished  once  more. 
Four  square  pieces  of  glass  can  easily  be  obtained,  as  well  as 
a  pane  for  the  top,  and  these  are  fastened  together  with  nar¬ 
row  strips  of  muslin  dipped  in  size,  each  strip  being  pasted 
on  the  inner  side  of  one  pane  and  the  outer  side  of  the 
other.  When  the  strips  are  perfectly  dry  they  can  be  cov¬ 
ered  with  some  handsome  embossed  paper,  or  with  dark 
binding,  if  preferred.  The  lilies  should  be  a  little  raised 
when  placed  in  position,  and  accompanied  by  several  dark 
leaves  and  two  or  three  buds.  A  little  powdered  alum 
sprinkled  on  the  leaves  while  moist  gives  the  appearance  of 
water-drops. 


Y. 

MODELING  IN  WAX. — FRUIT,  VEGETABLES,  ETC. 

Modeling  fruit  in  wax  is  more  difficult  than  copying 
flowers  in  this  material,  for  the  reason  that  special  molds 
have  to  be  made  for  each  piece.  Such  molds  may,  of  course, 
be  purchased,  and  for  small  clustered  fruits,  such  as  grapes, 
currants,  etc.,  they  are  sufficiently  good  ;  but  all  larger  fruit 
requires  to  have  a  plaster  cast  taken,  into  which  the  wax  can 
be  poured  after  being  melted. 

The  materials  necessary  for  fruit  modeling  are  plaster 
of  Paris  for  the  molds,  two  vessels  of  water,  hot  and  cold, 
a  vessel  with  a  spout  (a  cup  or  pitcher  will  do),  a  shallow 
tin  saucepan  and  a  towel,  some  old  soft  rags,  wire  of  sev¬ 
eral  sizes,  camel’s-hair  pencils  of  different  thicknesses, 
pieces  of  soft  flannel  and  rag,  a  spool  of  crochet  cotton, 
colors  of  the  best  quality,  either  in  powder  or  tubes,  of  which 
the  following  selection  will  be  found  satisfactory  :  Prussian- 
blue,  raw  umber,  burnt  umber,  lake,  red  lead,  yellow  chrome, 
blue  and  white  powder  for  blooming,  a  bottle  of  varnish,  tur¬ 
pentine,  and  the  white  “  flock”  for  down,  which  is  sold  by 
paper  manufacturers.  A  few  directions  as  to  the  best 
methods  of  coloring  may  be  found  useful.  The  various 
shades  of  green  are  obtained  by  mixing  chrome-yellow  and 
Prussian -blue  ;  light  greens  by  adding  white,  and  afterward 
deepening  the  tone,  as  required,  with  green  powder.  Fruits 
like  melons,  filberts,  etc. ,  are  first  thoroughly  painted  green, 
and  afterward  marked  in  shades,  as  required.  Strawberries 


MODELING  IN  WAX.— FRUIT,  VEGETABLES.  55 

and  bright  red  fruits  are  first  painted  all  oyer  in  pink,  and 
afterward  highly  colored.  Most  fruits  require  varnishing. 

In  arranging  quantities  of  wax  fruit  it  will  he  found  a 
very  great  improvement  to  introduce  the  leaves  and  blos¬ 
soms  appropriate  to  each  with  them.  How  much  more 
effective,  for  example,  apples  would  look  with  leaves  on  a 
twig,  or  pendent  fruits,  such  as  grapes,  currants,  etc.,  ac¬ 
companied  by  stalks  and  leaves,  than  they  do  heaped  up 
together  in  one  mass,  to  which  it  is  very  difficult  to  give  a 
natural  appearance. 

The  first  step  in  modeling  fruit  is  to  make  the  molds  ; 
for  this  purpose,  fine  plaster  of  Paris  in  powder  must  be 
obtained,  strips  of  thin  tin,  and  some  fine  damp  sand.  We 
will  suppose  that  an  apple  is  selected  for  a  first  trial :  the 
fruit  is  first  placed  in  the  sand,  the  stalk  end  downward, 
and  one  of  the  strips  of  tin  is  fixed  an  inch  and  a  half 
from  the  sides  of  the  fruit  in  ring  shape,  another  half  an 
inch  above  the  fruit.  Sufficient  plaster  of  Paris  is  mixed 
with  cold  water  to  make  a  smooth  batter,  and  this  is  poured 
carefully  over  the  apple,  covering  it  entirely.  It  is  then  set 
aside  to  cool,  and,  when  perfectly  cold,  the  rings  are  removed 
from  the  sand  and  the  mold  is  lifted  out,  the  fruit  being 
very  gently  disengaged  from  it,  after  the  edges  have  been 
trimmed  to  the  exact  half.  Four  holes  are  then  made  in 
the  flat  edge,  which  are  to  receive  the  projections  of  the 
second  half,  and  this  is  made  by  replacing  the  fruit  in  the 
mold  and  tying  a  strip  of  tin  tightly  round  the  top  of  the 
mold,  and  then  pouring  plaster  of  Paris  in  the  same  way 
over  the  whole.  All  fruits  which  it  would  be  difficult  to 
remove  from  the  mold,  either  on  account  of  their  hardness 
or  want  of  consistency,  should  be  well  coated  over  with  tal¬ 
low  and  oil  before  being  replaced  in  the  mold. 

Smaller  fruits  are  molded  solid,  a  hole  being  made  in 
perfect  mold,  and  the  wax,  when  melted,  poured  in  at  the 
stalk  end  and  shaken  about  until  it  congeals,  when  the 


56 


ROME  OCCUPATIONS. 


mold  is  broken  open  and  the  fruit  will  be  found  of  perfect 
shape.  Strawberries,  raspberries,  mulberries,  and  similar 
fruits,  are  made  in  this  way. 

The  plaster  casts  haying  been  made  as  directed,  the  wax 
in  which  the  fruit  is  to  be  copied  is  melted  in  a  small  tin 
saucepan.  It  must  not  be  allowed  to  boil,  but  should  be 
perfectly  hot,  and  the  ground-color  of  the  fruit  is  mixed 
very  smoothly  with  it  by  constant  stirring.  The  mold  is 
placed  for  some  time  in  cold  water,  then  carefully  dried, 
and  the  melted  wax  slowly  poured  into  it,  first  into  one 
half  and  then  into  the  other.  The  two  halves  are  fitted 
closely  together  as  the  wax  sets,  and  turned  about  in  every 
direction,  that  the  wax  may  be  equally  distributed.  The 
molds  are  then  replaced  in  cold  water,  but  the  turning 
about  must  continue  until  the  wax  is  thoroughly  congealed, 
which  will  be  easily  ascertained  from  the  cessation  of  the 
sound  made  by  it  while  liquid.  When  it  is  perfectly  cold, 
the  halves  are  carefully  separated,  and  the  fruit  will  be 
found  perfect,  needing  perhaps  a  little  trimming  where  the 
halves  were  joined  together. 

In  making  long  fruits,  such  as  bananas,  it  is  well  to 
have  molds  which  open  lengthways,  it  being  easier  to  re¬ 
move  the  fruit  in  that  way.  If  there  are  irregularities 
in  the  fruit,  more  than  two  molds  may  be  needed.  The 
stalks  are  made  like  those  of  wax-flowers,  and  a  clove 
pushed  into  the  apple  will  serve  for  the  dry  calyx  at  the 
flower  end.  It  is  sometimes  necessary  to  varnish  glossy¬ 
looking  fruits  with  mastic,  but  generally  good  rubbing  will 
polish  the  wax  sufficiently.  Carmine  and  other  deep  colors 
are  best  rubbed  on  to  the  ground-color  of  the  fruit,  while 
streaks  of  color  must  be  painted  on  with  the  brush,  spirits 
of  turpentine  being  mixed  with  it  if  the  powdered  colors  are 
used,  as  wax  will  not  take  water-color.  Tube-colors  answer 
best. 

To  give  the  appearance  of  down  or  bloom  upon  fruit,  a 


MODELING  IN  WAX.— FRUIT,  VEGETABLES.  57 


little  of  the  “  flock”  used  by  paper-stainers  is  blown  over 
it.  After  the  fruit  has  been  moistened  with  turpentine, 
the  ripe  red  of  plums  or  peaches  must  be  painted  on,  and 
when  dry  bloomed  in  this  way. 

Common  powder-blue  dusted  over  grapes  gives  them  the 
necessary  bloom,  while  ordinary  hair-powder  answers  the 
purpose  for  white  ones. 

In  making  the  small  fruits  which  do  not  require  casting, 
little  glass  balls  can  be  bought  which  will  sometimes  answer 
the  purpose  of  molds.  Those  are  dipped  in  melted  wax 
which  has  been  mixed  with  color,  and  .drawn  quickly  out 
again  by  the  stalks,  which  have  first  been  fixed  into  the 
little  hole  in  the  glass  ball  left  for  the  purpose.  When 
drawn  out  they  should  be  hung  to  cool  heads  downward, 
that  the  wax  may  settle  thickest  upon  the  lower  end.  If  it 
should  require  paring  or  rounding  at  the  stalk  end,  this  is 
easily  done  when  cold  by  cutting  and  rubbing  smooth  again. 
The  stalks  are  then  covered  with  green  wax,  and  the  cluster 
firmly  put  together  by  fixing  the  stems  on  to  the  stalk  with 
narrow  strips  of  wax,  and  they  are  then  dusted  with  powder 
of  the  color  required.  White  fruit  is  imitated  in  wax 
slightly  tinged  with  yellow.  Red  currants  are  dipped  in 
highly  colored  wax,  or  painted  with  carmine  when  cold. 
Black  currants  require  painting.  The  seeds  seen  in  trans¬ 
parent  fruit  like  currants  are  imitated  by  marking  the  glass 
balls  or  molds  with  oval  dots  of  chrome  mixed  with  thick 
gum  before  they  are  clipped  in  the  wax  ;  but  they  must  be 
prepared  a  few  days  before  they  arc  wanted,  that  the  dots 
may  be  thoroughly  hard  and  dry. 

It  is  better  in  coloring  liquefied  wax  to  put  the  powdered 
color  in  a  thin  muslin  bag,  and  dip  it  into  the  wax,  mo's  ing 
it  about  until  sufficient  color  exudes  from  it. 

Melons  of  all  kinds  can  be  very  successfully  copied  in 
wax.  Firm  melons  must  be  used  for  the  purpose  of  cast¬ 
ing,  and  they  should  not  be  too  ripe  ;  the  seeds  should  be 


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removed,  and  they  can  be  dried  and  varnished  for  use  when 
it  is  desired  to  represent  only  a  slice  of  a  melon,  in  which 
case  these  natural  seeds,  pressed  into  the  surface,  look  better 
than  any  that  can  be  made. 

The  molds  of  small  musk-melons  can  be  taken  entire  ; 
and,  if  they  are  carefully  done,  the  wax  will  retain  the  im¬ 
pression  of  every  line  and  mark. 

It  is  a  little  more  difficult  to  model  slices  of  water-melon, 
as  it  is  almost  impossible  to  take  a  plaster  impression  on 
account  of  the  moisture  of  the  fruit ;  but,  by  selecting  a 
melon  which  is  not  quite  ripe,  it  may  be  accomplished.  A 
section  cut  lengthwise  answers  best.  When  the  plaster  is 
thoroughly  mixed,  the  process  is  the  same  as  with  other 
fruit,  as,  although  the  ripe  appearance  of  the  melon  will  be 
wanting,  it  can  be  conveyed  to  the  wax  afterward  by  mold¬ 
ing  and  making  rough  edges  along  the  center,  and  pricking 
fissures  through  the  surface  for  the  seed  receptacles.  Then 
the  natural  seeds  are  inserted  and  kept  in  place  by  a  little 
mucilage.  The  coloring  of  the  rind  should  be  of  dark 
green,  mottled  with  a  lighter  shade,  the  light  green  line 
showing  upon  the  white  of  the  rind,  which  is  painted  over 
in  flake-white,  mixed  with  pink,  and  deepened  at  the  edge 
'to  that  peculiar  tint  which  constitutes  the  great  beauty  of 
the  water-melon. 

The  sectional  effect  of  small  fruits  like  the  raspberry  or 
blackberry  is  produced  by  pressing  tiny  balls  of  wax  upon 
a  larger  one  of  the  right  size  and  shape,  and  then  dipping 
the  whole  in  melted  wax  which  has  been  colored,  and  after¬ 
ward  completing  the  coloring  with  a  brush. 

Vegetables  are  easily  copied,  the  same  methods  being 
employed  as  in  the  case  of  fruit.  Peas  in  the  pod,  radishes, 
tomatoes,  and  cucumbers,  present  no  difficulties  ;  corn  looks 
well,  but  requires  great  care  in  casting,  as  the  grains  are 
irregular.  It  is  better  to  attempt  it  with  a  mold  in  three 
sections,  as  it  is  difficult  to  remove  it  from  one  in  two  halves. 


MODELING  IN  WAX.— FRUIT,  VEGETABLES.  59 


Every  one  is  familiar  with  the  slices  of  cake  in  confec¬ 
tioners’  stores  which  are  modeled  in  wax  ;  so,  too,  the  jelly 
molds  and  forms  of  ice-cream.  Bnt  such  objects  would 
scarcely  be  copied  by  the  amateur  ;  and,  if  they  were,  are 
easily  accomplished  by  following  the  directions  for  fruit 
and  vegetables.  The  only  difficulty  would  be  in  producing 
the  effect  of  icing,  the  method  of  which  we  will  describe. 
Several  coatings  of  thick  white  paint  are  laid  upon  the 
upper  surface  of  the  wax  cake,  and  roughened  at  the  edge 
with  the  molding-tools,  while  with  a  syringe  liquid  wax  is 
taken  up  and  ejected  in  drops,  which  are  allowed  to  cool, 
and  then  others  are  ejected  in  the  same  manner  upon  them, 
so  that  a  raised  pattern  or  device  is  easily  formed.  hen 
the  figures  thus  made  are  cold,  they  must  be  coated  over 
with  white  paint,  and  in  the  case  of  slices  of  cake  a  dark 
line  is  painted  below  the  white  edges  in  umber,  shaded  to 
yellow-brown. 

In  connection  with  wax-flower  modeling  there  is  one 
beautiful  object  which  can  be  very  successfully  made  in 
this  material,  and  that  is  a  cross.  The  cross  covered  with 
flowers  or  leaves  is  a  favorite  piece  of  wax- work,  and  very 
exquisite  results  are  produced  in  what  is  known  as  the 
Autumn  Cross,  in  which  the  decoration  is  of  tinted  leaves 
made  in  wax  specially  prepared  for  the  purpose  and  known 
as  “autumn-leaf  wax.” 

A  wooden  cross  of  the  desired  form  must  be  obtained  (it 
should  have  a  foundation  of  three  steps),  and  this  painted 
over  with  several  coatings  of  white  paint  until  a  smooth  sur¬ 
face  is  obtained.  Heavy  white  wax  is  then  laid  all  over  it, 
first  upon  the  steps  and  then  upon  the  body  and  arms  of  the 
cross,  being  smoothed  and  spread  with  the  spatula  while  a 
little  warm.  A  second  covering  of  wax  is  then  placed  over 
the  first,  and  smoothed  in  the  same  way.  Such  a  cross  can 
be  decorated  with  wreaths  of  ivy  formed  in  wax  ;  while  imi¬ 
tation  autumn-leaves,  modeled  in  the  tinted  material  already 


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referred  to,  are  beautiful.  If  additional  colors  are  desired, 
powdered  dyes  can  be  procured,  and  they  should  be  laid  on 
with  the  tip  of  the  finger  and  rubbed  in  with  the  stump  of 
a  camel’s-hair  brush. 

Some  people  prefer  what  is  known  as  the  Granite  Cross, 
which  is  also  made  of  wood  painted  with  “ granite”  color 
and  dusted  over  with  a  mixture  of  te granite  sand”  and 
“  diamond  powder,”  both  of  which  are  to  be  obtained  at 
the  store  for  artists’  materials  ;  the  leaves  for  decoration  are 
then  molded  with  green  wire  for  stems,  and  turned  around 
the  cross,  the  larger  leaves  at  the  base,  and  the  smaller  ones 
and  tendrils  around  the  arms. 

Such  a  piece  of  work  is  necessarily  elaborate,  and  allows 
great  scope  for  individual  taste.  Still  more  so  does  the 
Easter  Cross,  which  should  be  gray  in  color,  and  profusely 
decorated  with  flowers,  a  number  of  them  lying  on  the 
steps  which  form  the  base,  and  others  clustering  upon  the 
cross  and  falling  over  the  arms  in  every  variety  of  form  and 
color. 

Suggestions  and  directions  for  such  work  could  be 
multiplied  indefinitely,  but  enough  has  been  said  to  point 
the  way,  and  to  encourage  the  home  worker  in  an  occupa¬ 
tion  that  has  tangible  and  beautiful  results. 


VI. 

THE  PRESERVATION  OF  FLOWERS,  GRASSES, 
AND  SEA-WEEDS. 

Many  persons  who  would  not  take  the  necessary  trouble 
to  model  flowers  in  different  materials,  and  who  are  dis¬ 
posed  to  disclaim  all  beauty  in  a  “  copied”  flower,  will  oc¬ 
cupy  themselves  in  preserving  and  arranging  natural  ones. 

Mrs.  Hemans  maintained  that  the  only  passion  that 
could  survive  the  influences  of  long-continued  illness  and 
trouble  was  the  love  of  flowers  ;  and  certainly  invalids,  and 
those  debarred  from  much  activity,  are  uniformly  successful 
in  their  management  of  them.  Some  people  possess  a  natu¬ 
ral  gift  for  keeping  them  fresh,  and  have  the  knack  of  pre¬ 
serving  them  so  that  all  their  natural  beauty  is  retained. 

Within  the  last  few  years  a  great  deal  of  attention  has 
been  paid  to  the  preservation  of  natural  flowers  as  a  branch 
of  industry.  In  Germany,  notably  in  the  little  town  of 
Erfurt,  hundreds  of  girls  are  engaged  in  the  business,  and 
the  flower  market  in  Paris  is  largely  supplied  by  them,  the 
bouquets  and  other  floral  decorations  being  so  thoroughly 
preserved  that  they  are  sent  from  one  country  to  another 
without  sustaining  the  slightest  injury. 

The  processes  employed  by  those  who  make  a  business 
of  it  can  be  readily  followed  by  the  many  who  would  take 
it  up  as  an  occupation  for  leisure  hours.  A  German  au¬ 
thority  supplies  the  most  minute  directions  for  the  work, 
and  we  lay  before  our  readers  the  process  as  recommended 


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by  him,  by  means  of  which  the  most  fragile  flowers  may  be 
preserved  and  appear  as  natural  as  when  freshly  gathered. 

A  quantity  of  fine  sand  must  first  be  procured  (any 
gardener  will  supply  it),  and  it  will  require  thorough 
cleansing,  in  order  to  clear  from  it  all  soluble  particles. 
This  is  readily  accomplished  by  pouring  water  over  it 
until,  as  it  runs  olf,  it  is  perfectly  clear  and  free  from  float¬ 
ing  particles. 

This  satisfactorily  done,  it  must  be  dried,  either  by  sub¬ 
jection  to  heat  from  the  fire,  or  by  being  left  in  the  sun, 
after  which  it  can  be  thoroughly  sifted  by  means  of  a  sieve, 
until  all  the  larger  grains  and  any  dust  which  may  have 
escaped  the  cleansing  process  are  eliminated. 

When  these  directions  have  been  carefully  followed,  the 
sand  will  be  almost  as  pure  as  that  known  as  “  silver  sand.” 
It  must  now  be  kept  in  a  dry  place,  and,  when  the  flowers 
to  be  preserved  have  been  selected,  enough  of  it  should  be 
placed  in  a  box  to  support  the  stems  when  they  are  placed 
upright  in  it.  The  flowers  chosen  should  be  in  a  full  state 
of  development,  and  not  too  moist  with  dew  or  rain.  If 
they  are,  they  must  be  dried,  by  placing  two  or  three  at  a 
time  into  a  glass  with  just  sufficient  water  for  the  ends  to 
stand  in ;  they  will  then  dry  and  yet  suck  up  enough 
moisture  to  keep  them  from  fading ;  but  the  delay  neces¬ 
sary  for  this  is  almost  as  objectionable  as  the  chance  of 
their  being  too  moist ;  it  is  better  generally  to  place  them, 
directly  they  are  gathered,  in  the  sand.  Each  flower  must 
stand  up  in  the  sand  by  itself,  and,  when  all  are  in  place, 
the  delicate  part  of  the  operation  commences.  The  box 
has  to  be  filled  up  above  the  level  of  the  flowers  with  sand, 
that  they  may  be  completely  imbedded  in  it.  This  is  done 
by  sprinkling  the  sand  through  a  tube,  sieve,  or  funnel,  in 
such  a  way  that  every  leaf  and  petal  rests  upon  sand  before 
any  one  of  them  is  covered  by  it.  This  is  necessarily  a  slow 
process,  but  it  repays  the  trouble  involved.  The  box  must 


THE  PRESERVATION  OF  FLOWERS ,  ETO.  63 


then  be  covered  and  carefully  carried,  without  any  shaking, 
to  a  place  which  is  warm  but  not  moist,  the  object  being  to 
allow  the  sand,  which  is  porous,  to  absorb  all  the  moisture 
from  the  flower.  If  the  heat  to  which  it  is  subjected  is  too 
great,  the  choice  colors  of  the  blossoms  will  fade,  while,  if 
not  great  enough,  the  moisture  will  not  be  absorbed  with 
sufficient  speed,  and  the  flower  will  decay  ;  100°  F.  is  about 
the  right  temperature. 

When  the  flowers  are  thoroughly  dry,  which  will  be  in 
about  three  days,  the  sand  must  be  allowed  to  run  out  of 
the  box  by  piercing  the  paper  at  the  bottom  ;  and,  as  it  runs 
out,  the  lid  must  be  lifted,  and  each  flower,  as  it  appears 
above  the  sand,  taken  up  carefully  by  the  stem  and  shaken 
very  gently,  to  free  it  from  the  few  remaining  grains  of 
sand  which  will  be  found  clinging  to  it. 

The  action  of  drying  renders  the  flowers  very  brittle, 
and  only  the  greatest  care  will  prevent  their  breaking  ;  but 
as  exposure  to  the  air  imparts  fresh  moisture  to  them,  they 
will  be  less  fragile  after  a  day  or  two.  A  first  attempt  at 
thus  preserving  flowers  will  probably  not  be  entirely  satis¬ 
factory  ;  one  or  two  only  out  of  a  number  will  be  found  per¬ 
fect  ;  but  experience  will  soon  teach  which  flowers  are  most 
readily  preserved,  and  will  lead  to  generally  successful  re¬ 
sults.  Flowers  are  said  to  have  been  preserved  in  this  way 
centuries  ago,  and  the  art  is  still  practiced  among  the  Chi¬ 
nese,  whose  method  of  preparing  skeleton  leaves  and  flowers 
is  superior  to  anything  western  nations  have  attempted. 

In  old  museums  in  England  there  are  specimens  of 
skeleton  leaves  decorated  with  Chinese  inscriptions  and 
Oriental  mottoes  of  all  kinds,  but  it  seems  doubtful  whether 
they  were  ever  arranged  in  groups  or  bouquets  as  they  now 
are.  But,  before  considering  the  best  methods  of  obtain¬ 
ing  skeleton  specimens,  we  will  say  a  few  words  as  to  the 
art  by  which  pure  white  flowers  have  been  successfully  pre¬ 
served  for  an  indefinite  period.  For  a  long  time  the 


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secret  was  a  monopoly  in  the  hands  of  a  few  experts,  and 
wealthy  persons  paid  exorbitant  sums  for  the  preservation 
of  the  white  flowers  which  formed  a  bridal  wreath,  or  which 
perhaps  had  lain  on  the  breast  of  one  beloved  and  lost. 
This  result,  it  is  now  generally  known,  is  attained  by  the 
use  of  paraffine  oil,  and  the  method,  although  a  little 
troublesome,  is  quite  within  the  reach  of  any  one  who  de¬ 
sires  to  preserve  such  mementos. 

Freshly  gathered  flowers,  either  pure  white  ones  or 
those  of  the  faintest  tinge  of  color,  are  divested  of  all  their 
green  leaves  and  dipped,  one  at  a  time,  in  a  pan  of  liquid 
paraffine  oil.  The  oil  is  liquefied  by  standing  the  vessel 
which  contains  it  in  boiling  water,  and  the  flowers  thus 
completely  coated  with  it  are  entirely  excluded  from  the 
action  of  the  air,  and  are  thus  preserved  for  any  length  of 
time.  The  leaves  to  accompany  them  are  differently 
treated,  being  either  dipped  in  paraffine  in  which  green 
powdered  color  has  been  mixed,  or  coated  over  with  melted 
green  wax  of  the  kind  used  for  modeling.  Experiments  of 
such  a  kind  can  be  made  with  flowers  of  every  kind,  and  it 
is  a  most  interesting  occupation,  but  one  which,  of  course, 
will  not  satisfactorily  preserve  flowers  of  graduated  tints  or 
varied  colors.  The  coating  of  liquefied  petroleum  is  so 
transparent  that  it  is  quite  invisible,  but  the  subtile  perfume 
of  the  flower  is,  unfortunately,  entirely  lost,  whereas,  if  pre¬ 
served  by  means  of  dry  sand,  the  “scent  of  the  roses  will 
cling  to  them  still.” 

There  is  yet  another  way  which  has  been  successfully 
tried  by  enthusiasts  in  this  art,  but  it  is  one  that  hardly 
commends  itself  to  amateurs,  being  by  means  of  sulphur 
fumes.  The  flowers  to  be  preserved  are  tied  in  loose 
bunches  and  hung  heads  downward  over  a  box,  in  the  bot¬ 
tom  of  which  a  pan  with  live  coals  of  charcoal  has  been 
placed.  Upon  these  coals  sulphur  must  be  sprinkled,  and, 
as  the  fumes  arise,  the  lid  is  closely  shut  and  the  whole 


THE  PRESERVATION  OF  FLOWERS,  ETC.  65 


wrapped  up  in  a  woolen  cloth  for  twenty-four  hours.  At 
the  expiration  of  that  time  the  flowers  will  be  found  per¬ 
fectly  bleached,  hut,  upon  exposure  to  the  influences  of  the 
atmosphere,  their  natural  colors  will  return  in  some  meas¬ 
ure,  and  will  remain  permanently,  although  they  will  never 
be  as  vivid  as  before. 

There  is  no  need  to  dwell  upon  the  delight  such  an 
occupation  as  that  of  preserving  flowers  would  prove  to  all 
who  have  botanical  tastes,  nor  how  surely  it  would  induce 
them.  The  lover  of  flowers,  should  never  rest  contentedly 
ignorant  of  their  properties  and  qualities,  and  the  first  at¬ 
tempt  at  preserving  them  will  open  up  an  inexhaustible 
field  of  interest  and  pleasure.  So,  step  by  step,  knowledge 
is  acquired ;  the  first  specimens  are  compared  with  others, 
new  methods  of  preserving  and  specifying  are  learned,  and 
thus,  little  by  little,  an  herbarium  of  intrinsic  value  is 
formed. 

We  pass  on  now  to  a  consideration  of  skeleton  leaves  and 
flowers,  as  valuable  in  their  way  as  those  preserved  in  the 
perfection  of  their  colors.  This,  as  we  have  said,  is  a  very 
old  art,  dating  back  into  the  ages  of  antiquity,  and  con¬ 
stantly  referred  to  in  later  publications.  An  English  writer 
in  the  seventeenth  century  alludes  to  the  process,  and  it  was 
probably  introduced  into  that  country  by  the  Italians,  for 
great  curiosity  was  aroused  in  Naples  by  the  work  of  an 
anatomist  who,  in  1645,  published  the  figure  of  a  skeleton 
leaf.  In  1727  a  Dutch  experimentalist,  after  repeated  fail¬ 
ures,  succeeded  in  producing  perfect  skeletonized  specimens 
of  leaves  and  flowers,  and  he  made  the  process,  by  which  he 
obtained  these  satisfactory  results,  public.  The  leaves  se¬ 
lected  for  such  a  purpose  should  be  as  free  from  blemish  as 
possible  ;  this  can  be  ascertained  by  holding  them  to  the 
light,  when  any  imperfection  is  readily  detected  ;  they  must 
first  be  carefully  pressed  under  some  heavy  weight,  each  leaf 
being  then  brushed  over  with  a  solution  of  chloride  of  lime, 


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and  placed  in  a  tub  of  rain-water  which  is  exposed  to  the 
air  and  sunshine.  Putrefaction  at  once  commences,  and 
the  most  unpleasant  part  of  the  occupation  is  the  necessity 
for  examining  the  leaves,  from  time  to  time,  after  they  have 
lain  six  weeks  or  two  months  in  the  water.  Once  or  twice 
a  week  will  be  sufficient,  when  those  which  become  soft  and 
pulpy  must  be  removed  to  be  cleaned.  This  cleansing  jirocess 
is  far  from  agreeable,  as  the  leaves  are  filthy  and  slimy  ;  the 
best  way  to  remove  them  entire  is  to  slip  a  card  under  the 
one  to  be  taken  out,  and  so  transfer  it  to  a  basin  of  fresh 
water,  when  it  will  float  off  the  card  without  breaking.  Two 
or  three  brushes  and  a  knife  are  then  needed  for  the  clean¬ 
ing  a  s°ft  brush,  one  of  stiffer  bristles,  and  a  tooth-brush. 
With  the  soft  brush  the  outer  surface  of  pulp  is  carefully 
brushed  away,  the  leaf  being  again  lifted  by  a  card  and 
placed  on  a  piece  of  smooth  glass,  and  then  by  dexterous 
touches  the  entire  pulpy  surface  of  the  leaf  is  removed, 
water  being  carefully  poured  over  it  to  complete  the  cleans¬ 
ing.  Some  leaves  require  very  little  cleansing  ;  others, 
again,  need  gentle  scrubbing  with  the  harsh  brush,  while 
the  point  of  the  knife  is  required  to  cut  away  and  trim 
the  edges.  As  the  leaves  are  cleansed  they  are  passed  into 
fresh  water,  and  left  there  until  others  are  ready  for  bleach¬ 
ing. 

There  is,  however,  a  much  quicker  method  than  that  de¬ 
scribed,  which  is  almost  as  satisfactory,  and  which  consists 
in  destroying  the  epidermis  of  the  leaf  by  the  application 
of  alkali.  Four  ounces  of  sal-soda  are  dissolved  in  a  quart 
of  boiling  water,  and  to  this  two  ounces  of  quicklime  are 
added,  and  together  they  are  boiled  for  twenty  minutes. 
After  cooling,  the  clear  liquor  is  poured  off,  and  the  leaves 
are  boiled  briskly  for  an  hour  and  a  half  in  this.  A  leaf 
may  then  be  dipped  out  on  a  card,  and  rubbed  over  with 
the  fingers ;  if  the  epidermis  comes  off  easily,  the  leaves 
are  ready ;  if  not,  they  require  more  boiling. 


TEE  PRESERVATION  OF  FLOWERS,  ETC.  67 


Whichever  method  is  employed  so  far,  the  leaves  are  now 
ready  for  bleaching,  and  there  are  two  or  three  ways  of 
effecting  this.  The  ordinary  method  is  to  take  half  a  pound 
of  strong  chloride  of  lime  and  place  it  in  a  pitcher  with 
three  pints  of  soft  water,  which  is  stirred  over  it,  the 
lumps  being  carefully  mashed  against  the  sides  of  the  ves¬ 
sel.  The  pitcher  is  then  covered  and  set  in  a  cool  place 
until  the  lime  has  settled  to  the  bottom,  which  will  be  in 
about  half  an  hour.  Such  particles  as  remain  floating  on 
the  top  must  then  be  removed,  and  the  clear  liquid  poured 
into  a  bottle  and  kept  closely  corked.  The  leaves  are  then 
passed  carefully  into  a  wide-mouthed  bottle,  and  covered 
with  a  mixture  of  the  solution  and  water.  For  ordinary 
leaves,  two  table-spoonfuls  of  the  lime  solution  to  a  pint  of 
water  will  be  the  right  quantities,  but  for  coarse  seed-pods 
or  stems,  and  some  leaves,  such  as  those  of  the  magnolia, 
holly,  or  ivy,  a  stronger  mixture  is  required. 

A  preparation  of  chloride  of  soda  is  preferred  by  some,  as 
being  more  gentle  in  its  action,  but  it  is  not  strong  enough 
for  the  coarser  quality  of  leaves.  This  preparation  is  gen¬ 
erally  obtained  of  a  druggist,  as  it  can  not  be  successfully 
prepared  at  home,  and  it  so  soon  loses  its  strength  on  account 
of  the  volatile  chlorine  it  contains  that  no  definite  direc¬ 
tions  can  be  given  for  the  proportions  in  which  to  use  it. 

The  leaves  when  bleached  are  placed  in  clear  cold  water 
and  floated  off  on  cards,  to  be  dried  upon  soft  cloths  until 
all  moisture  is  absorbed,  when  they  can  be  carefully  pressed 
between  the  leaves  of  a  book,  and  in  a  day  or  two  will  be 
found  to  be  ready  for  use,  either  to  be  arranged  in  a  bou¬ 
quet  or  mounted  upon  a  background  of  velvet,  which  is 
certainly  a  most  effective  way  of  showing  off  the  beauty  of 
skeleton  leaves. 

There  is  a  very  great  difference  in  the  texture  of  leaves, 
some  containing  much  more  tannin  than  others,  in  which 
case  it  is  extremely  difficult  to  decompose  them,  and  such 


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leaves  should  always  be  kept  apart.  The  oak,  chestnut, 
walnut,  and  birch  leaves  are  especially  difficult  on  this  ac¬ 
count,  while  those  of  the  elm,  maple,  pear,  silver  poplar, 
and  sycamore  are  very  easily  decomposed.  Seed-pods  re¬ 
quire  to  he  treated  separately.  Ferns  need  special  care  ;  hut 
as  they  are  particularly  beautiful,  they  are  well  worth  the 
trouble  they  entail.  Indeed,  they  are  the  most  effective  of 
all  skeleton  leaves.  Their  texture  is  so  delicate  that  it  is 
necessary  to  subject  them  separately  to  a  process  of  drying. 
They  should  be  gathered  during  the  season  of  maturity, 
when  the  seeds  are  found  at  the  back  of  the  leaves.  The 
best  way  to  preserve  them  is  to  press  them  between  the 
leaves  of  books,  letting  them  remain  there  until  they  are 
required  for  bleaching.  Those  that  are  to  be  preserved  can 
then  be  carefully  selected  and  placed  in  a  jar  in  such  a  way 
that  they  curl  round,  rather  than  with  the  stems  turned 
downward,  while  smaller  specimens  can  be  placed  in  the 
space  thus  left  in  the  center.  The  jar  should  then  be  filled 
up  with  warm  water,  and  half  a  teacupful  of  the  solution 
allowed  to  each  pint  of  water.  The  jar  must  be  tightly 
closed  and  set  in  a  warm  place  ;  twenty-four  hours  later  the 
liquid  is  to  be  poured  out  and  fresh  solution  and  water  sup¬ 
plied,  which  in  its  turn  is  removed  after  forty-eight  hours’ 
soaking.  By  this  time  the  ferns  will  begin  to  whiten  at  the 
edges,  and,  after  being  left  for  another  day  and  night  in  the 
third  supply  of  liquor,  will  probably  be  completely  bleached. 
Each  should  be  removed  as  it  is  finished,  and  carefully  laid 
in  a  broad  basin  of  clean  warm  water  to  soak  for  a  few  hours. 
The  water  will  require  changing  several  times  ;  and  it  must 
be  remembered  that  ferns  will  not  bear  handling  like  other 
leaves,  but  the  rinsing  effected  by  changing  the  water  will 
be  sufficient.  As  they  are  ready  for  drying,  each  spray 
must  be  laid  separately  upon  paper,  and  this  is  best  accom¬ 
plished  by  passing  the  sheet  of  paper  below  the  spray  as  it 
lies  in  the  basin,  and  so  lifting  it  out  of  the  water. 


THE  PRESERVATION  OF  FLOWERS,  ETC.  69 


The  spray  will  cling  to  the  paper  and  assume  its  natural 
appearance,  when  it  can  be  carefully  pulled  out  by  means 
of  a  pin.  The  sheets  of  paper  must  be  laid  between  soft 
towels,  to  rid  them  of  as  much  moisture  as  possible  before 
they  are  pressed  between  the  leaves  of  a  book,  or  folds  of 
unsized  paper.  When  all  the  sprays  have  been  placed  either 
in  a  book  or  between  paper,  each  by  itself,  a  heavy  weight 
should  be  placed  upon  them  to  insure  their  drying  smoothly, 
and  they  should  not  be  exposed  to  the  air  until  wanted  for  use. 

When  a  sufficient  number  of  various  kinds  of  leaves  has 
been  prepared,  the  next  thing  is  to  arrange  them  into  bou¬ 
quets.  For  this  purpose  a  glass  shade  and  stand  are  pro¬ 
vided,  and  a  cushion  of  blue  or  black  velvet  should  be  made 
to  fit  the  stand,  into  which  the  stems  of  the  flowers  and 
leaves  can  be  inserted.  Generally  speaking,  in  the  process 
of  bleaching  it  will  be  found  very  difficult  to  preserve  the 
stems  of  every  leaf,  and  it  is,  therefore,  often  necessary  to 
provide  artificial  ones.  This  is  easily  done  by  simply  stiffen¬ 
ing  coarse  crochet  cotton  with  gum,  cutting  the  right  length 
for  the  stem,  and  carefully  gumming  it  to  the  back  of  the 
leaf.  These  stems  can  be  regulated  in  size  for  different 
leaves,  and  are  readily  bent  into  any  shape  or  direction  de¬ 
sired.  The  stems  thus  prepared,  the  arrangement  of  the 
bouquet  proceeds  by  securing  the  leaves  which  are  to  form 
the  center  by  gumming  the  stems  into  a  hole  made  to  re¬ 
ceive  them  in  the  center  of  the  cushion,  using  large  leaves 
for  a  beginning,  and  bending  the  stems  in  such  a  way  that 
they  will  lean  over.  Sometimes,  if  the  shade  is  high,  it  is 
better  to  mount  some  of  the  leaves  intended  for  the  center 
upon  silk  bonnet-wire,  and  place  the  remaining  ones  round 
this  grouping,  according  to  taste.  Beginners  in  this  work 
should  bear  in  mind  that  the  heavier  leaves,  seed-pods, 
burrs,  etc.,  should  never  be  at  the  top  of  such  a  bouquet, 
as  they  detract  from  the  light  appearance  which  is  the  great 
charm  of  groups  of  skeleton  flowers. 


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Another  style  of  arranging  a  selection  of  leaves  of  this 
kind  is  to  mount  them  upon  a  cross  of  black  velvet,  turning 
the  smaller  leaves — as  those  of  ivy,  etc. — around  a  cushion 
of  black  velvet,  which  forms  the  base.  This  arrangement 
shows  off:  the  leaves  to  great  advantage,  and  such  a  cross  is 
readily  made  by  constructing  one  of  simple  boards  of  the  size 
required,  and  covering  it  tightly  with  cotton-backed  velvet. 

The  drying  of  autumn-leaves  is  a  favorite  occupation, 
and  many  are  the  devices  resorted  to  in  the  hope  of  preserv¬ 
ing  the  vivid  tints  of  these  most  beautiful  specimens  of 
Nature’s  handiwork.  How  disappointing  it  is  when  all  the 
care  expended,  all  the  pressing,  varnishing,  and  ironing, 
only  result  in  spotted,  discolored,  and  shriveled  leaves  ! 
There  is,  however,  a  method  by  which  far  more  satisfactory 
results  may  be  obtained,  and,  although  it  is  a  little  trouble¬ 
some,  the  appearance  of  the  leaves  when  finished  will  amply 
repay  the  time  and  care  bestowed  upon  them. 

First  of  all,  much  will  depend  upon  the  condition  of  the 
leaves  when  gathered.  Those  which  are  collected  early  in 
the  season — as  soon,  indeed,  as  the  tints  appear — are  the 
best  for  the  purpose.  Some  pure  white  sheet-wax  is  melted 
by  placing  it  in  a  vessel  which  can  stand  in  hot  water  ;  and 
when  the  wax  is  thoroughly  liquefied  a  few  drops  of  tur¬ 
pentine  must  be  mixed  with  it.  The  leaves,  when  gathered, 
should  be  placed  in  a  heavy  book,  each  by  itself,  and  pressed 
by  laying  a  heavy  weight  upon  the  book  for  twenty-four 
hours,  then  removing  them  to  another  dry  book,  and  repeat¬ 
ing  the  process  in  all  three  times.  By  this  time  all  moisture 
will  have  been  extracted,  and  each  leaf  can  be  gently  dipped 
into  the  liquid  wax,  and  held  there  until  it  cools  ;  then  re¬ 
moved,  and  placed  on  paper  to  harden.  To  ascertain  that 
the  wax  is  of  the  right  temperature,  it  is  best  to  dip  a  leaf 
in  and  draw  it  over  the  edge  of  the  vessel  on  each  side.  If 
the  wax  is  of  the  proper  heat,  the  leaf  will  look  as  if  just 
varnished,  while,  if  too  hot,  it  will  shrivel,  and  if  too  cool, 


71 


TEE  PRESERVATION  OF  FLOWERS ,  ETC. 

lumps  will  form  on  the  surface  of  the  leaf.  Leaves  treated 
in  this  way  will  appear  perfectly  natural ;  but  if  it  is  wished 
to  give  them  a  more  shining  appearance,  they  can  be  brushed 
over  with  dammar  varnish. 

It  is  needless  to  enter  upon  suggestions  for  the  appro¬ 
priate  use  of  autumn-leaves  ;  they  are  universally  known, 
and  whether  they  serve  as  ornaments  alone,  or  are  used  in 
combination  with  berries  and  burrs,  they  are  always  grace¬ 
ful,  appropriate,  and  beautiful. 

Drying  grasses  collected  during  the  summer  holidays  is 
another  occupation  that  fully  repays  the  time  bestowed  upon 
it.  Grasses  are  dried  by  pressing  them  in  the  same  way  as 
leaves  ;  but,  as  in  the  arrangement  of  winter  bouquets,  it 
is  often  desirable  to  have  them  of  other  than  the  natural 
color.  They  are,  for  this  purpose,  first  subjected  to  a 
process  of  bleaching,  and  then  colored  by  dipping  them 
into  spirituous  solutions  of  aniline  dyes,  which  are  procur¬ 
able  at  any  drug-store,  and  can  be  made  deeper  or  lighter 
in  tone  by  adding  alcohol.  When  removed  from  the  dye, 
they  are  simply  shaken  out,  and  exposed  to  the  air. 

Grasses  are  bleached  by  immersing  them  in  the  same 
solution  of  chlorine  that  was  suggested  for  flowers,  and  they 
should  dry  in  an  upright  position,  as  they  bend  in  the  pro¬ 
cess,  and  so  gain  the  graceful  natural  appearance. 

Fewer  persons,  comparatively,  interest  themselves  in  the 
preservation  of  sea-weeds,  and  yet  the  most  exquisite  results 
can  be  obtained  by  doing  so. 

IN  o  sea-side  occupation  offers  so  many  charms  as  a  col¬ 
lection  of  sea-weeds  j  and  those  who  have  spent  time  in 
securing  beautiful  specimens  will  not  grudge  a  little  trouble 
in  preserving  their  beauty.  INo  land-flowers  exceed  in 
beauty  some  of  those  growing  far  in  the  green  depths  of  the 
sea,  thrown  upon  the  shore  by  the  action  of  tumultuous 
waves,  and  picked  up,  perhaps,  hundreds  of  miles  from 
their  place  of  growth,  to  be  separated  by  careful  hands 


HOME  OCCUPATIONS. 


72 

from  the  coarser  specimens  of  ordinary  sea-weeds  which 
accumulate  in  such  quantities  upon  the  beach. 

The  sultry  days  of  summer,  in  the  holiday  season  of  July, 
August,  and  September,  afford  the  best  opportunities  for 
collecting  the  rarer  specimens,  such  as  the  beautiful  varie¬ 
ties  of  the  colored  algse  which  are  classified  as  olive-green 
and  red  ;  among  the  latter  are  those  beautiful  fern-like  and 
delicate  branches  of  rose-colored  weed  which,  when  floating 
in  the  water,  look  like  outlined  leaves,  composed  entirely  of 
delicate  veins,  and  which,  when  spread  out  upon  card, 
retain  all  their  delicacy  and  beauty.  When  the  tide  is  out 
it  is  possible  to  wander  far  over  the  sands,  to  search  among 
the  rocks  and  crannies  exposed  to  view,  and  to  disentan¬ 
gle  from  the  masses  left  behind  by  a  stormy  sea  the  ex¬ 
quisite  fronds  and  sprays  that  will  amply  repay  preserva¬ 
tion.  In  collecting  them,  it  is  well  to  set  out  on  a  sea¬ 
shore  ramble  armed  with  a  little  pail  of  sea-water,  into 
which  each  specimen  can  he  thrown  as  it  is  found ;  for 
if  sea-weeds  are  carried  any  distance  without  water  they  die 
at  once.  When  home  is  reached  again,  each  separate  spray 
should  be  carefully  rinsed  by  passing  it  through  and  through 
fresh  water,  so  that  all  particles  of  sand  and  dirt  are  washed 
away.  Then  it  should  be  placed  in  a  shallow  basin,  and 
floated  out  upon  a  card,  each  tiny  fiber  and  shred  being  care¬ 
fully  saved.  A  piece  of  drawing-paper,  or,  better,  Bristol- 
board,  can  be  cut  of  the  desired  shape,  and  the  sea-weed 
again  floated  into  fresh  water,  to  float  off  once  more  upon 
the  board,  while,  as  it  leaves  the  water,  a  sharp-pointed  in¬ 
strument  (knife  or  scissors)  lays  each  strand  in  its  own  posi¬ 
tion.  Where  there  are  too  many  branches,  they  should  be 
cut  off,  and  the  rest  carefully  arranged  on  the  card.  Then, 
by  holding  it  in  a  slanting  position,  the  sea-weed  can  be 
brought  up  out  of  the  basin,  the  water  poured  gradually  off 
it,  and,  after  allowing  the  card  to  dry  partially,  soft  cloths 
laid  upon  it  will  absorb  the  remaining  moisture,  and  it  can 


THE  PRESERVATION  OF  FLOWERS,  ETC.  73 


then  be  placed  in  a  book  and  subjected  to  moderate  pres¬ 
sure. 

If  the  specimens  are  large  or  thick,  it  will  be  necessary 
to  remove  them  in  a  few  days,  and  constantly  change  the 
book  or  paper  in  which  they  are  drying. 

Some  sea-weeds  are  of  a  glutinous  nature,  and  very 
sticky.  These  require  different  treatment,  and  must  be 
dried  by  exposure  to  the  air,  and  then  laid  upon  cards  over 
water  and  wiped  with  a  soft  cloth ;  afterward  they  can  be 
placed  in  a  book,  to  be  pressed  until  dry.  Great  interest 
will  be  added  to  the  preservation  of  sea-weeds  if  they  are 
classified  and  arranged  in  order  ;  and  to  those  of  our  read¬ 
ers  who  desire  information  upon  this  point  we  would  advise 
the  perusal  of  a  most  interesting  work  upon  Sea  Mosses, 
by  A.  B.  Ilervey,  published  in  Boston. 

Sometimes  the  weeds  will  not  adhere  to  the  cards  with¬ 
out  mucilage  of  some  kind  ;  it  is  best  then  to  paint  the  sur¬ 
face  of  the  card  over  with  dammar  varnish,  adding  a  little 
gum  arabic. 

The  arrangement  of  sea- weeds,  like  that  of  flowers  and 
leaves,  must  be  left  to  individual  taste  ;  but  we  may  suggest 
that  little  baskets  filled  with  them  are  very  pretty,  and  that 
the  task  of  arranging  them  upon  cards  or  in  scrap-books 
will  offer  an  occupation  for  rainy  days,  or  hours  perforce 
spent  indoors,  which  would  otherwise  pass  drearily  enough. 


VII. 

SPATTER-WORK. 

A  consideration-  of  all  that  can  be  done  with  flowers, 
leaves,  and  grasses  reminds  us  of  a  very  pleasant  method 
of  perpetuating  them  in  fancy  work.  Spatter-  or  splash- 
work  was  at  one  time  in  everybody’s  hands  ;  and,  although 
ambitious  workers  nowadays  talk  more  of  decorative 
needle-work  and  painting  on  china,  it  is  an  open  question 
whether  these  occupations  aflord,  on  the  whole,  such  satis¬ 
factory  copies  after  nature  as  the  humble  attempts  of  those 
who  are  content  to  occupy  their  leisure  hours  with  spatter- 
work.  Moreover,  from  a  decorative  stand-point,  this  occu¬ 
pation  has  very  much  to  recommend  it,  for  spatter-work  can 
be  used  for  countless  purposes,  is  quite  inexpensive,  and  can 
be  carried  out  upon  material  of  almost  any  kind  and  of  any 
color,  provided  the  surface  is  smooth  and  even. 

Spatter- work  looks  equally  well  on  ebony  or  upon  thin, 
transparent  muslin,  in  the  one  case  the  operation  being 
performed  in  light  colors  or  dyes,  in  the  latter  in  Indian 
ink. 

The  materials  for  this  work  are  inks  or  dyes,  a  small 
brush  and  comb,  sold  for  the  purpose,  the  leaves  or  sprays 
to  be  reproduced,  and  the  material  on  which  the  ornamen¬ 
tation  is  to  be  made.  To  begin  with  the  simplest :  A 
doily  is  perhaps  selected,  and  a  piece  of  white  jean  is 
taken  for  the  purpose,  cut  out  to  the  desired  size,  and 
then  the  fern-leaf,  heather,  or  spray,  to  be  marked  upon 


SPATTER-WORK. 


75 


it,  is  pressed  carefully  in  the  desired  position.  A  quantity 
of  good  Indian  ink  is  placed  in  a  saucer,  into  which  the 
fine  brush  is  dipped,  and  it  is  then  passed  over  the  comb, 
thus  splashing  the  ink  all  over  the  surface  of  the  doily 
until  it  is  quite  black.  It  must  be  left  to  dry  thoroughly, 
and  then,  the  leaf  or  spray  being  carefully  removed,  its 
exact  impress  will  be  found  in  white  upon  a  dark  ground ; 
a  fine  brush  is  now  required  to  make  the  natural  veins,  etc. , 
upon  it,  and  the  work  is  ready. 

Simple  as  this  is  in  description,  it  is  capable  of  very 
great  expansion  in  fact.  The  pattern  thus  transferred 
gives,  of  course,  only  the  bold  outline  of  the  leaves,  and 
the  beauty  of  the  effect  will  depend  upon  the  accuracy 
with  which  the  veinings  and  markings  of  the  leaves  are 
given. 

In  spattering  the  ink,  too,  a  great  deal  of  care  is  neces¬ 
sary,  and  the  operator  must  always  begin  at  the  center  and 
proceed  to  the  edges,  the  center  being  invariably  for  all 
designs  of  the  deepest  color. 

Almost  any  kind  of  leaf  can  be  copied  in  this  work,  ex¬ 
cepting  very  large  and  thick  ones.  To  prepare  them  it  is 
only  necessary  to  press  them  thoroughly,  either  in  blotting- 
paper  or  between  the  leaves  of  books.  They  should  be 
moved  more  than  once  and  placed  between  other  dry  papers 
constantly,  until  all  their  moisture  is  quite  absorbed,  when 
they  are  fit  for  use.  Ferns  are  the  leaves  generally  used, 
and  the  easiest  to  transfer  in  this  way,  for  which  reason 
this  work  is  often  known  as  fern-work. 

Transparencies  are  beautiful  in  this  style  of  decoration. 
For  a  lamp-shade,  for  example,  a  light  green  material  might 
be  selected,  and  the  foliage  outlined  upon  it  in  light  colors 
spattered  in  the  way  described,  the  leaves  being  always 
veined  with  the  color  used  for  the  background. 

In  spattering,  it  is  well  to  protect  the  dress  from  the 
splashing  of  the  paint  by  wearing  an  apron  made  to  cover 


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HOME  OCCUPATIONS. 


the  waist  and  sleeves — a  precaution  which  may  be  observed 
in  other  fancy  work  with  equal  propriety. 

Spatter-work  can  be  very  effectively  done  upon  common 
card-board,  and  there  is  no  limit  to  the  purposes  to  which  it 
can  be  put.  The  effect  of  shading  will,  of  course,  only  be 
gained  after  some  practice ;  but,  when  once  thoroughly 
understood,  it  can  be  carried  out  so  artistically  that  a 
spatter-work  panel  will  be  as  handsome  and  effective 
as  one  painted  in  water-colors.  Boxes  in  white  wood 
can  be  readily  ornamented  by  this  means,  and,  when 
the  ink  or  paint  is  dry,  a  polish  is  easily  given  by  brush¬ 
ing  it  over  with  a  coating  of  gum  shellac  dissolved  in 
alcohol. 

Violet,  green,  purple,  or  red  inks  can  be  substituted  for 
black,  while  for  purposes  where  washing  is  required  indel¬ 
ible  inks  are  used.  Monograms  and  initials  are  easily  trans¬ 
ferred  in  this  way,  and  intricate  designs  of  ferns  and  other 
leaves  can  be  arranged  in  such  a  manner  that,  by  care  in 
the  shading,  most  artistic  effects  are  produced.  In  making 
a  card-board  lamp-shade,  for  example,  the  pattern  can  be 
cut  of  any  shape  desired,  either  in  crescent  form  or  in  six 
pieces  of  the  same  size  and  shape.  Any  color  can  be  select¬ 
ed  for  the  ground,  and  each  of  the  six  pieces  can  bear  a 
different  design  ;  each  should  be  scalloped  carefully  at  the 
top  and  bottom,  and,  small  holes  being  made  at  the  edge 
of  each  side,  the  six  portions  are  joined  by  being  laced  to¬ 
gether  with  a  fine  silk  cord  of  the  same  color  as  the  card¬ 
board.  A  set  of  mats  for  the  dinner-table,  to  place  under 
the  dishes,  can  be  very  prettily  made  in  this  way  by  arrang¬ 
ing  well-pressed  fern-leaves  and  ivy-leaves  in  a  semicircle, 
and  above  them  a  monogram  cut  in  card-board;  then  spat¬ 
tering  either  black  or  violet  ink  thoroughly  over  them,  and 
afterward  delicately  tracing  all  the  veinings  of  the  leaves 
and  markings  of  the  monogram.  A  practiced  hand  can 
spatter  so  carefully  that  the  effect  of  shade  will  be  given  to 


SPATTER-WORK. 


77 

the  background,  and  this,  of  course,  immensely  assists  the 
artistic  effect. 

Brackets  and  mantel  lambrequins  are  extremely  pretty 
in  this  style  of  work.  Mantel  lambrequins  especially,  with 
the  leaves  so  arranged  that  there  is  a  deep  depression  in  the 
center,  the  edge  being  cut  out  in  graduated  scallops — the 
largest  being,  of  course,  intended  for  the  middle  one — are 
very  handsome.  If  the  spattering  is  of  white  or  cream-col¬ 
ored  paint  on  a  dark-blue  ground,  and  all  the  veinings  are 
carefully  marked  out  after  the  leaves  have  been  removed, 
such  a  piece  of  work  is  well  worth  the  time  it  takes. 

It  must,  of  course,  be  carried  out  upon  smooth  material, 
such  as  satin  or  satinet ;  plush,  velvet,  and  even  silk,  are  of 
no  use,  the  surface  of  such  material  being  too  uneven. 

For  those  who  can  spatter  well  upon  wood  there  are 
many  ways  of  passing  time  pleasantly.  For  instance,  a 
paper-cutter  of  white  wood  can  be  changed  from  a  mere 
ordinary  article  to  one  of  real  beauty  by  a  little  skill  and 
care.  The  leaves  selected  to  form  the  ornamentation  must, 
of  course,  be  small.  Very  tiny  fern-leaves  would  serve  the 
purpose  best,  or  ivy-leaves  gathered  when  quite  young. 
They  must  be  pressed  so  tightly  on  to  the  wood  of  the  knife 
that  they  will  adhere,  and  must  be  left  after  the  spattering 
is  done  until  it  is  perfectly  dry.  It  is  always  necessary,  in 
arranging  leaves  for  such  work,  to  avoid  overcrowding  them; 
each  must  lie  by  itself,  perfect  in  outline,  and  any  deviation 
from  this  rule  will  spoil  the  best  design  that  was  ever  ar¬ 
ranged. 

Leaves  that  have  been  long  dried  and  have  lost  color  are 
always  useful  for  spatter-work;  and  in  this  way  the  memory 
of  pleasant  hours  spent  in  collecting  them  can  be  indefi¬ 
nitely  prolonged.  It  would  be  possible  to  make  a  very 
handsome  folding-screen  by  the  introduction  of  spatter- work 
panels.  The  material  selected  must  first  be  stretched  very 
tightly  over  each  panel,  and  the  flowers  or  leaves  gracefully 


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arranged  and  firmly  secured  by  pins,  each  panel  having  a 
different  combination.  On  blue  satin  in  white,  or  upon 
white  satin  in  blue,  red,  or  black  ink,  such  an  idea,  well 
carried  out,  would  be  very  successful.  As  the  same  leaves 
may  serve  for  several  such  designs,  it  is  best  to  secure  them 
in  place  by  tacking  the  stems  down,  rather  than  by  putting 
pins  through  the  leaves  themselves. 

This  work  is  especially  suited  for  the  decoration  of  port¬ 
folios  intended  for  the  reception  of  dried  leaves  and  flowers. 
The  covers  of  such  portfolios  can  be  made  of  Bristol-board, 
the  design  spattered  on  in  black  ink,  and,  when  thoroughly 
dry,  the  edges  can  be  bound  in  colored  ribbons,  and  the 
same  material  will  furnish  strings  to  tie  them  together. 
^  blotting-paper  can  be  cut  to  the  right  size  for  the 
leaves,  and,  when  completed,  the  portfolio  will  serve  both 
the  useful  purpose  of  drying  leaves  well  and  the  ornamental 
purpose  of  looking  well  on  the  parlor-table. 

Such  simple  applications  of  the  art  of  spatter-work  as 
we  have  suggested  will  recall  others  of  the  same  kind,  as, 
for  example,  a  neglige  pocket  for  the  bed-head  to  hold  a 
watch,  pocket-handkerchief,  etc.  Such  a  one  could  be 
made  at  very  small  expense,  having  gray  or  blue  linen  as  a 
foundation.  Each  little  pocket  could  be  ornamented  with 
a  different  design,  and  fastened  in  place  by  button-hole 
stitch  in  silk,  of  the  color  of  the  paint  or  ink  used  for  the 
sprinkling.  Boxes  for  the  toilet-table,  toilet-cushions,  toil¬ 
et-mat,  and,  as  we  have  said,  short  window-curtains,  would 
all  repay  the  time  spent  upon  S23attering  them  ;  and  we 
strongly  recommend  young  ladies  who  are  at  a  loss  for  oc¬ 
cupation  to  bestow  some  attention  first  upon  collecting 
suitable  leaves  for  decorative  purposes,  and  then  upon  per¬ 
petuating  them  by  this  simple  method  of  spatter- work. 


VIII. 


FRAME-MAKING. 

There  are  no  more  popular  occupations  for  leisure 
hours  than  wood-carving  and  amateur  carpentering.  In 
many  homes  there  has  grown  up  of  late  years  quite  a  pas¬ 
sion  for  carving  in  wood,  especially  since  the  introduction 
of  the  fret-saw  for  this  class  of  work.  Ladies  with  a  taste 
for  art  can  accomplish  much  with  a  gouge  or  chisel, 
and  produce  effects  in  relief  which  are  well  worthy  of  ad¬ 
miration.  Foremost  among  the  uses  to  which  a  knowledge 
of  this  art  can  be  put  is  that  of  frame-making. 

Handsome  frames  of  any  kind  are  expensive,  and  many 
pictures  valued  for  their  intrinsic  merit,  or  for  precious 
associations,  lie  hidden  away  in  portfolios,  awaiting  the 
time  when  circumstances  shall  justify  the  necessary  outlay 
for  a  frame.  In  such  cases,  home-made  frames  have  much 
to  recommend  them  in  addition  to  the  fact  that  they  are 
"inexpensive.  They  can,  by  the  exercise  of  a  little  taste, 
be  made  so  suitable  to  the  picture  for  which  they  are  in¬ 
tended  that,  whether  they  are  in  carved  work  or  in  plain 
wood,  polished  or  gilded,  whether  they  are  severe  in  design 
and  style,  or  made  of  odd  combinations,  such  as  cones,  pop¬ 
corn,  straw,  coral,  shells,  or  the  many  other  things  pressed 
into  the  service,  they  can  be  entirely  redeemed  from  medi¬ 
ocrity  by  originality  of  workmanship  and  suitability  to  the 
subject  of  the  picture. 

Materials  for  such  occupation  must  include,  in  addition 


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to  a  few  carpenters’  tools,  that  most  important  article  of 
furniture,  a  common  table,  which  may  answer  the  purpose 
of  a  carpenter’s  bench,  and  must  be  well  built  and  strong. 
It  will  be  a  great  assistance  if  the  table  is  furnished  with  a 
rest  and  screw,  such  as  carpenters  use,  and  it  should  be 
made  of  such  common  wood  that  no  regard  need  be  paid 
to  the  knocks  and  hacks  it  will  receive  before  much  work  is 
accomplished  upon  it. 

A  box  to  hold  the  tools  is  a  desirable  addition,  and  in  it 
should  be  found  a  plane,  a  few  rasps  and  a  file,  a  mallet, 
and,  for  carving,  a  few  gouges  and  chisels  of  different  sizes. 
These  are  amply  sufficient  for  amateur  carpenters,  and  if 
fret- work  carving  is  to  he  undertaken,  the  best  way  is  to 
buy  a  fret-saw  machine,  which  can  be  obtained,  with  all 
necessary  accompaniments,  for  the  moderate  sum  of  one 
dollar  and  a  half.  Easy  designs  for  the  guidance  of  ama¬ 
teurs  are  generally  to  he  bought  with  it. 

The  first  thing  to  consider  when  a  frame  is  to  be  made 
is  the  expense  that  may  he  involved  in  it.  We  suggest 
this  because  where  a  little  money  can  be  spent  it  is  always 
possible  to  buy  strips  of  every  variety  of  prepared  moldings 
in  any  lengths,  and  for  almost  any  price.  At  the  same 
store — a  picture-frame  maker’s — gilt  moldings  for  gold 
frames  can  be  purchased,  as  well  as  ornamental  moldings  in 
the  shape  of  stars,  roses,  and  other  devices,  all  ready  to  be 
glued  on  to  the  home-made  frame  ;  and  we  should  advise  all 
amateurs  who  can  do  so  to  obtain  them,  or,  failing  this,  to 
content  themselves  with  plain  wooden  frames,  trusting  for  ’ 
decorative  effect  to  simple  carved  devices  or  ornamental 
wreaths  of  leather-work,  the  making  of  which  has  already 
been  described. 

It  is  not  our  intention  to  give  directions  for  such  elabo¬ 
rate  work  as  should  make  the  occupation  in  reality  amount 
to  task-work,  but  to  suggest  various  possibilities  in  the 
shape  of  frames,  which  may  be  undertaken  by  the  least 


FRAME-MAKING. 


81 


skillful  amateurs,  and  to  give  a  few  plain  directions  for 
gilding  or  painting  which  may  be  acceptable  to  beginners 
in  the  art  of  finishing  off. 

The  very  easiest  frame  an  amateur  could  attempt  would 
be  one  in  simple  square  form,  the  ends  projecting.  For 
this  it  would  only  be  necessary  to  select  four  lengths  of 
slender  pine  wood — two  long  ones  for  the  sides,  and  two 
shorter  ones  for  the  ends.  Laying  them  in  the  required 
shape,  the  ends  resting  on  the  sides,  they  can  be  nailed 
firmly  together  about  an  inch  and  a  half  from  the  edges. 
The  edges  can  then  either  be  left  perfectly  straight  or  cut 
into  pointed  shape.  The  foundation  once  made,  the  frame 
can  be  stained  either  with  a  decoction  of  Venetian -red  and 
vinegar  to  imitate  rose-wood,  or  with  burnt  umber  to  give 
it  the  dark  appearance  of  walnut.  It  is  then  varnished,  and 
ready  for  any  decoration  that  may  be  desired. 

If  the  worker  has  sufficient  knowledge  of  wood-carving, 
a  simple  wreath  of  ivy-leaves  can  be  cut  out  of  one-eightli- 
inch  wood,  the  veins  and  markings  all  being  stabbed  out 
with  the  gouge  or  chisel ;  or,  if  leather-work  is  decided  upon 
for  the  decoration,  a  very  pretty  trellis-work  effect  wpuld 
be  given  if  a  vine-leaf  wreath  were  molded  with  clusters  of 
berries  and  small  fruit  gracefully  arranged  to  trail  against 
the  wooden  foundation.  Of  course,  the  decoration,  of  what¬ 
ever  kind  it  may  be,  must  be  stained  to  match  the  frame¬ 
work.  If  the  ornamental  wreath  seems  too  elaborate  for  a 
first  attempt,  the  frame  would  not  look  amiss  if  it  had  sim¬ 
ple  ornaments  placed  over  the  joined  corners. 

A  square  frame  to  fit  exactly  at  the  corners  is,  of  course, 
more  difficult.  For  those  who  are  ambitious  enough  to  wish 
to  accomplish  this  in  the  exact  method  of  the  genuine  frame- 
maker,  a  miter-block  would  be  necessary,  together  with 
a  miter-slioot  and  a  vise,  which  are  made  of  wood,  and  can 
be  obtained  at  any-tool  shop,  as  can  also  a  trying-plane, 
which,  although  heavy,  can  be  easily  moved  even  by  a  weak 


82  HOME  OCCUPATIONS. 

/ 

hand,  as  it  always  rests  upon  the  miter-shoot.  There  is  a 
machine  known  as  the  ‘‘miter-machine,”  which  trims  the 
wood  much  more  quickly,  but  this  costs  from  fifteen  to 
twenty  dollars,  and  is  by  no  means  necessary. 

When  the  worker  has  a  miter-block  and  shoot,  the 
lengths  of  wood  decided  upon  as  the  right  size  are  first  sawn 
off  and  transferred  to  the  miter-shoot,  to  be  cut  off  at  ex¬ 
actly  the  same  angle.  Two  pieces,  intended,  respectively, 
for  end  and  side  of  the  frame,  are  then  fitted  together,  so  that 
the  angles  exactly  match,  and  the  longer  of  the  two  is  first 
secured  in  the  vise  and  thus  held  steadily  in  position,  while 
the  shorter  one  is  placed  against  it,  projecting  the  least  pos¬ 
sible  degree  beyond  the  first,  to  allow  of  brads  being  ham¬ 
mered  in.  The  necessary  holes  are  made  by  an  awl  in  the 
thickest  part  of  the  wood,  and  the  brads  are  then  carefully 
hammered  in.  The  brads  should  be  two-and-a-half-inch 
ones  if  the  frame  is  two  inches  in  depth. 

Supposing,  however,  that  the  frame-maker  has  only  the 
ordinary  tools  of  a  small  carpenter’s  box,  the  frame  can  be 
almost  as  accurately  made  by  carefully  planing  away  the 
ends  of  each  separate  piece  to  the  exact  angle  required  to 
fit  it  to  the  rest ;  then  joining  them  by  means  of  headless 
nails  driven  through  the  thickest  portions.  There  will  be 
crevices  in  the  home-made  frame,  probably,  which  will  re¬ 
quire  stopping  or  filling  up.  This  is  accomplished  by  mak¬ 
ing  a  composition  of  whiting  and  size,  which  will  effectually 
fill  up  holes  left  by  the  brad-awl,  etc.  The  whole  surface  of 
the  frame  must  then  be  carefully  rubbed  over  with  emery- 
paper  of  fine  quality,  and  the  staining  or  gilding  will  be  the 
next  operation.  For  merely  staining  the  frame,  directions 
have  already  been  given  (see  page  19)  ;  for  gilding  there  are 
three  distinct  methods,  for  each  of  which  we  will  give  direc¬ 
tions,  merely  remarking  that,  in  our  estimation,  the  most 
practical  is  that  of  simply  washing  the  frame  over  with  liquid 
gilt,  the  powder  for  which  can  be  bought  at  the  artists’-ma- 


FRA  ME- MAKING. 


83 


terial  stores  and  mixed  at  home  with  size,  and  which  is  very 
inexpensive;  sufficient  can  be  obtained  for  thirty-five  cents  to 
gild  a  good-sized  frame.  Williams’s  liquid  gilt,  all  ready  for 
use,  is  rather  more  expensive,  costing  one  dollar  a  bottle. 

The  other  methods  are  by  the  use  of  mat  or  water  gild¬ 
ing,  or  oil  gold  size  ;  if  the  former  is  selected,  the  frame  can 
not  be  burnished — it  will  have  the  appearance  of  dead  gold 
—while  if  oil  gold  size  is  used  it  can  he  burnished,  and,  if 
not  burnished,  can  he  readily  cleansed  when  wished,  by 
simply  washing  it  over  with  water. 

For  the  more  elaborate  processes  of  gilding,  these  various 
materials  will  be  required,  all  of  which  are  to  be  bought  at 
the  artists’-material  stores  :  For  oil-gilding — pipe-clay  size 
and  chrome-yellow  mixed  ;  gold-leaf  books  of  different 
qualities,  costing  from  twenty-five  cents  upwards  ;  tips  or 
fiat  squirrel’s-hair  brushes,  spirit  varnish,  what  are  known 
as  skewing  brushes,  mat  gold  size,  emery-paper,  ormolu 
in  solution,  burnish  size,  oil  sizes,  agate  burnishers,  a 
knife  for  taking  up  the  gold-leaf,  and  thick  camel’s-hair 
brushes. 

Gold  books  contain  about  twenty-five  leaves,  and  can  bo 
obtained  of  different  tones  of  color.  A  cushion  to  cut  the 
gold-leaf  upon  can  be  easily  made  ;  it  consists  simply  of 
a  square  of  wood  covered  with  chamois-leather,  and  it  is 
advisable  to  have  a  little  screen  nailed  on,  of  either  stiff 
paper  or  parchment,  to  prevent  the  gold-leaf  being  blown 
away.  The  size  known  as  mat  gold  size  is  made  of  ground 
yellow  ochre,  copal  varnish,  linseed-oil,  and  turpentine, 
mixed  together  with  boiled  oil.  To  amalgamate  it  properly 
the  powdered  ochre  must  be  first  mixed  gradually  with  oil, 
and  the  other  ingredients  added.  If  oil-gilding  is  decided 
upon,  after  the  frame  has  been  thoroughly  rubbed  with  em¬ 
ery-paper,  it  must  be  first  washed  over  with  the  pipe-clay 
size  and  chrome-yellow  mixture,  which  is  made  by  mixing 
chrome-powder  with  boiling  water  to  a  smooth  thin  paste. 


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When  it  has  dried  thoroughly  into  the  wood  it  will  require 
to  be  washed  over  again  with  size  and  polished  with  emery- 
powder.  A  coating  of  oil  gold  size  is  then  put  on  and 
left  to  dry  for  about  twelve  hours,  when  it  is  ready  for  the 
application  of  the  gold-leaf. 

The  real  difficulty  of  the  operation  now  commences  in 
the  laying-on  of  the  gold-leaf.  The  leaf  or  leaves — for  sev¬ 
eral  will  probably  be  needed — are  lifted  out  of  the  book  by 
tip  or  brush,  and  laid  on  the  cushion,  to  be  cut  into  strips. 
One  of  the  camel’s-hair  brushes  is  then  dipped  into  a  saucer 
of  clean  water  and  brushed  over  the  surface  of  the  frame, 
wetting  rather  a  larger  portion  than  the  strip  of  gold-leaf 
will  cover.  This  strip  is  now  placed  on  the  wet  piece  of 
the  frame  as  straightly  as  possible  and  closely  pressed  down 
by  the  brush.  Layers  of  the  gold-leaf  are  thus  successively 
placed  one  beyond  the  other,  the  frame  being  freshly  moist¬ 
ened  for  each,  and,  when  thoroughly  covered,  it  is  set  aside 
to  dry.  If  the  frame  is  a  perfectly  plain  one,  this  operation 
presents  few  difficulties  ;  but  if  there  are  moldings,  or  carv¬ 
ings,  it  is  necessary  that  every  crack  and  crevice  should  be 
covered.  For  this  purpose  what  is  called  a  skewer  brush  is 
taken,  applied  lightly  to  the  surface,  and  worked  round  and 
round  so  that  the  gold-leaf  is  thoroughly  spread  over  and 
worked  in.  This  accomplished,  about  six  drops  of  “or¬ 
molu  ”  are  mixed  in  a  tea-cupful  of  size  and  brushed  all 
over  the  work. 

The  burnishing  consists  in  giving  the  frame  two  or 
three  coatings  of  burnish  size,  and,  when  dry,  rubbing  it 
thoroughly  with  burnishers  of  different  shapes — a  long 
operation,  but  one  which  completes  the  work  with  the  ex¬ 
ception  of  the  application  either  of  yellow  gold  lacquer  or 
white,  hard  spirit  varnish. 

It  will  be  seen  that  gilding  in  this  manner  is  by  no 
means  the  simple  operation  one  might  imagine,  and  our 
readers  will  probably  agree  with  us  in  our  preference  for 


FRAME-MAKING. 


85 


the  gilt  paint  to  be  bought  ready  made  and  simply  applied 
with  a  brush. 

The  making  of  an  oval  frame  necessarily  presents  more 
difficulties  than  that  of  a  square  one,  and  the  possibility  of 
buying  them  all  ready  for  painting,  varnishing,  or  decorat¬ 
ing,  is  a  great  temptation  ;  but  should  it  be  wished  to  have 
one  entirely  of  home  manufacture,  there  are  two  ways  of 
proceeding.  The  frame  can  be  either  in  solid  wood  or  of 
lattice- work,  the  latter  being  by  far  the  easier  method  of 
the  two,  and  consisting  simply  of  larger  and  smaller  semi¬ 
circular  pieces  of  wood  joined  to  form  the  oval,  the  smaller 
one  for  the  inner,  the  larger  for  the  outer  edge,  while  thin, 
narrow  strips  of  wood  are  placed  across  from  one  edge  to 
the  other  in  the  form  of  lattice-work.  The  foundation 
thus  made  can  be  colored  and  varnished,  and  then  decorated 
with  leather  leaves,  or  leaves  carved  in  very  thin  wood.  For 
the  solid  frame  it  is  necessary  to  draw  the  exact  outlines  of 
outer  and  inner  oval  upon  the  wood  to  be  used,  and  then  to 
cut  it  or  saw  it  away  to  the  required  shape,  planing  away  all 
irregularities.  Such  a  frame,  if  of  sufficiently  thick  wood, 
can  be  carved  simply  or  more  elaborately  in  relief,  and  we 
take  this  opportunity  of  explaining  how  very  easy  such  sim¬ 
ple  wood-carving  is.  The  wood  will  have  been  already  pre¬ 
pared  by  planing,  thus  presenting  a  perfectly  even  surface, 
and  upon  this  surface  the  outline  of  the  leaf  to  be  carved 
must  first  be  carefully  traced.  With  a  small,  sharp  chisel, 
which  has  been  ground  of  slanting  shape,  the  surface  of  the 
wood  surrounding  the  edge  of  the  leaf  is  stabbed  all  round 
the  outline  to  the  depth  of  about  the  sixteenth  of  an  inch. 
The  process  of  carving  in  relief  consists  in  getting  rid  of 
just  this  sixteenth  of  an  inch  of  wood  all  round  the  leaf, 
and  the  whole  skill  of  the  operation  lies  in  so  cutting  it 
away,  by  aid  of  chisel  and  gouge,  that  the  leaf  will  stand 
out  perfectly  in  raised  outline.  The  gouges,  which  are 
only  curved  chisels,  can  be  bought  for  ten  or  twelve  cents 


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each,  of  different  sizes ;  and  great  care  must  be  taken  not 
to  cut  too  deeply  into  the  wood,  especially  as,  in  the  case 
of  the  frame  which  we  are  considering,  other  leaves  and 
tendrils  will  continue  the  pattern,  and  all  must  be  on  one 
level.  The  outline  once  successfully  cut  out,  the  next 
thing,  for  which  some  practice  is  required,  is  stabbing 
out  the  mid-ribs  of  the  separate  lobes  of  the  leaf.  The 
process  of  stabbing  out  is  the  same  as  for  the  outline,  and 
the  whole  surface  of  the  lobe  is  then  shaved  down  in  a 
slanting  direction. 

To  give  the  lowered  appearance  of  portions  of  a  natural 
leaf  thus  lying  upon  a  flat  surface,  certain  parts  of  it 
must  be  cut  away,  and  upon  the  skill  with  which  this  is 
done  the  artistic  appearance  of  the  leaf  will  depend.  No 
one,  however,  would  attempt  to  carve  an  elaborate  design 
upon  a  frame  who  had  not  some  knowledge  of  the  first 
principles  of  wood-carving ;  but  our  brief  resume,  of  the 
method  employed  may  encourage  those  who  imagine  carv¬ 
ing  to  be  an  elaborate  and  unattainable  art  to  make  an 
attempt  at  mastering  its  difficulties.  In  reality,  it  is  very 
simple,  and  but  few  tools  are  needed  for  it ;  a  few  gouges 
and  chisels,  which  can  be  bought  at  any  hardware  store, 
being  sufficient  for  really  elaborate  carving. 

After  carving  out  any  design  upon  the  plain  mold  of 
which  such  a  frame  as  we  have  considered  is  made,  it 
would  be  necessary  to  color  it  and  varnish  it,  or,  if  the 
carved  design  sufficiently  covered  it,  the  varnishing  might 
be  omitted,  and  the  entire  frame  simply  washed  over  with 
a  mixture  of  umber  and  sweet-oil,  or  colored  by  good  black 
ink,  or  any  of  the  dyes  in  imitation  of  woods,  which  are  to 
be  obtained  at  stores  for  artists’  materials. 

In  addition  to  such  frames  as  we  have  considered,  there 
are  many  of  simpler  kinds  which  can  be  readily  made  at 
home,  for  the  purpose  of  occupying  an  hour  or  so  of  time 
pleasantly.  Of  such,  for  example,  are  the  straw  frames. 


FRAME-MAKING. 


87 


made  by  simply  selecting  perfect  straws  of  different  lengths 
and  arranging  them  in  rows  of  five  each,  the  largest  in  the 
center,  then  a  shorter  one  each  side,  and  again  a  still  shorter 
one.  Four  sides  are  thus  prepared,  and  laid  in  the  shape 
of  an  Oxford  frame,  the  top  and  bottom  being  placed  in 
front  of  the  sides.  Four  ornaments  are  made  for  the  cor¬ 
ners,  of  three  straws  each,  and  these  are  fastened  crosswise 
to  each  corner  by  means  of  a  ribbon  tied  round,  so  that 
the  place  where  the  corners  join  is  hidden.  Three  straws 
joined  together,  sewn  to  the  back  of  the  top,  serve  for  a 
stand,  and  a  piece  of  gay-colored  ribbon  across  the  center, 
to  secure  the  picture  in  position,  is  a  pretty  addition  to  this 
little  frame. 

Some  persons  are  particularly  successful  in  making  rustic 
frames,  by  simply  arranging  pieces  of  bark,  nuts,  seeds,  etc., 
upon  a  foundation  of  plain  wood,  coloring  the  whole  either 
with  one  dark  dye,  or  in  different  shades,  from  dark  brown 
to  buff,  and  so  making  a  pleasant  change. 

There  is  a  very  successful  way  of  imitating  wood-carving 
which  is  often  resorted  to  in  frame-work.  A  pine  founda¬ 
tion,  either  square  or  oval,  is  stained  with  a  decoction  of 
Venetian-red  and  vinegar,  and,  when  dry,  rubbed  thorough¬ 
ly  with  emery-powder  and  varnished  with  Japan  varnish. 
Nuts  of  different  kinds  are  then  colored  in  the  same  way, 
walnuts,  Brazil-nuts,  and  filberts  being  best  adapted  for  the 
purpose,  the  walnuts  and  Brazil-nuts  being,  of  course,  used 
in  halves.  After  being  colored  and  varnished  they  are 
carefully  arranged  upon  the  foundation  with  a  mixture  of 
leaves,  cut  out  in  sheep-skin  and  molded  in  leaf-molds, 
colored  and  varnished.  When  all  are  arranged  in  the 
design  selected,  and  firmly  glued  in  position,  the  whole  is 
once  more  varnished  over,  and  the  effect  at  a  little  distance 
is  very  good.  In  the  same  way  foundation  frames  can  be 
decorated  with  shells  by  brushing  them  over  with  shell- 
cement,  which  is  made  by  taking  an  ounce  of  gum  traga- 


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canth  and  half  an  ounce  of  gum  arabic  dissolved  in  suffi¬ 
cient  water  to  make  a  strong  mucilage,  into  which  the  shells 
are  sunk  ;  and,  when  the  whole  is  dry,  the  spaces  which  re¬ 
main  uncovered  are  washed  over  with  dark-brown  dye. 

Cones  serve  a  very  useful  purpose  in  ornamenting  simple 
picture-frames.  The  foundation  for  such  an  one  might  be 
of  book-binder’s  pasteboard,  and  the  scales  of  good  ripe  pine- 
cones  could  be  sewed  along  the  edges.  Designs — as,  for 
examj^le,  rosettes  or  crosses — can  be  made  of  the  scales  of 
softer  pine-cones,  acorns  or  buttons  serving  for  the  centers, 
and  when  all  are  in  place  the  frame  can  be  colored  and 
varnished. 

We  have  seen  really  beautiful  frames  made  of  such 
treasures  as  are  found  in  country  walks — odds  and  ends  of 
bark,  moss,  acorns,  nuts,  etc. — artistically  arranged  and 
kept  in  position  by  strong  glue  ;  but  if  such  decorations 
are  too  elaborate,  there  is  always  the  danger  of  some  of  the 
articles  falling  off  or  breaking  away,  for  which  reason  we 
decidedly  prefer  simpler  effects  in  the  direction  of  home¬ 
made  frames. 


COLLECTING. 


The  love  of  collecting  is  inherent  in  many  people.  We 
recognize  the  budding  taste  in  children  who  will  carefully 
treasure  up  buttons,  bits  of  tin-foil,  beads,  and  glass,  to 
make  collections ;  and,  again,  in  growing  boys  and  girls, 
whose  “fossils”  or  “shells ’’are  objects  of  deep  interest 
and  amusement.  And  the  occupation  of  collecting  is  one 
that  well  repays  all  the  trouble  undertaken  in  its  service. 
It  is  quite  surprising  to  find  how  naturally  interests  spring 
up  in  connection  with  it,  so  that  in  time  the  simple  habit 
of  taking  care  of  things  grows  into  one  of  classifying  and 
arranging  them. 

Almost  every  collection  acquires  a  value  if  it  is  carried 
on  for  a  sufficient  length  of  time,  to  say  nothing  of  that 
which  naturally  belongs  to  any  occupation  necessitating  the 
acquisition  of  fresh  facts.  Collections  of  stamps,  for  ex¬ 
ample,  so  eagerly  commenced  a  few  years  ago  by  boys  and 
girls,  ended  in  classified  albums,  and  in  specimens  arranged 
with  an  obvious  regard  to  their  historical  significance.  No 
lad  who  studies  his  stamp-book  can  be  ignorant  of  changes 
of  rule  and  nationalities.  Valuable  information  is  thus 
acquired  without  any  active  effort ;  and  so  it  is  in  the  case 
of  all  collections,  excepting  those  that  are  of  absolutely 
valueless  articles,  and  these  are  happily  few,  and  pass  away 
with  the  fashion  of  the  hour. 

The  nucleus  of  a  collection  is  soon  formed.  For  ex- 


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ample,  in  the  very  matter  of  stamps,  how  easy  it  is  to 
begin  !  One  or  two  from  foreign  countries  can  be  pasted  in 
a  blank-book,  and  as  others  are  met  with  at  longer  or  shorter 
intervals,  they  are  added.  No  sooner  does  that  addition 
occur  than  interest  is  started,  friends  are  asked  to  save 
those  on  foreign  letters,  exchanges  are  made,  correspond¬ 
ence  on  the  subject  very  likely  entered  into,  and  life¬ 
long  friendships  sometimes  formed  through  this  simple 
agency. 

There  is  probably  no  more  striking  instance  on  record 
of  the  growth  of  a  collection  than  that  of  Edward,  the 
Scotch  naturalist,  who,  from  the  simplest  beginning,  pick¬ 
ing  up  here  and  there  the  insects  he  met  with,  and  classify¬ 
ing  them  in  his  own  untaught  way,  finally  became  known 
throughout  the  civilized  world  for  the  size  of  the  collections 
he  made.  A  poor  working  cobbler,  he  was  such  an  enthu¬ 
siastic  naturalist  at  heart  that  he  spent  whole  nights  in 
rambling  about  the  country  adding  to  his  collection  of  in¬ 
sects  ;  and,  in  his  despair  at  his  own  ignorance,  he  entered 
into  correspondence  with  eminent  naturalists  in  his  own 
country  and  in  England,  sending  them  his  specimens  by 
mail,  to  be  returned  to  him  named  and  classified — very  often 
losing  them  by  his  confidence  in  the  integrity  of  those  he 
addressed.  Such  men  as  Edward  are,  of  course,  met  with 
but  rarely ;  but  the  marvelous  results  which  accrued  mere¬ 
ly  from  his  persistently  collecting  and  preserving  his  speci¬ 
mens  afford  a  remarkable  example  of  the  possible  growth 
of  accumulations.  Most  people  are  familiar  with  his  his¬ 
tory  ;  those  who  are  not,  and  who  themselves  have  a  taste 
for  collecting,  would  be  greatly  interested  in  his  biog¬ 
raphy,  which  has  been  written  in  a  peculiarly  graphic  style 
by  Smiles. 

It  is  not  to  be  supposed  that,  as  an  ordinary  thing,  col¬ 
lections  taken  up  for  occupation  in  our  leisure  hours  will 
amount  to  anything  in  the  least  degree  approaching  that  to 


COLLECTING . 


91 


which  we  have  referred  ;  but  the  most  modest  collection 
has  a  value  and  interest  of  its  own. 

Take,  for  example,  one  of  fossils.  There  are  many  little 
books  published  nowadays  which  give  such  simple  direc¬ 
tions  for  naming  and  classifying  them  that  a  child  can  un¬ 
derstand  them ;  and  the  soil  of  this  country  is  so  rich  in 
such  deposits  that  almost  any  one  can  start  a  collection  of 
fossils,  and  a  very  little  reference  to  authorities  will  enable 
a  beginner  to  name  and  arrange  them,  even  if  no  attempt 
is  made  to  classify  them.  Dana’s  “  Geological  Story  Brief¬ 
ly  Told  ”  would  be  invaluable  to  any  one  who  has  picked 
up  specimens  about  the  country,  chipped  off  bits  of  rock, 
and  become  enthusiastic  over  fossilized  relics.  To  such  a 
one  we  would  say  :  Try  to  gain  some  idea  of  the  age  to 
which  your  specimens  belong ;  ascertain,  by  comparing 
them  with  illustrations  in  books,  in  what  strata  they  are 
found  ;  and  it  will  surprise  you  to  find  how  interest  in  your 
daily  walks  will  grow  with  every  fresh  fact  elicited.  A  very 
little  knowledge  will  prove  the  high  road  to  more.  At  first 
you  possess,  perhaps,  merely  a  few  isolated  specimens — bits 
of  feldspar  possibly,  attractive  because  of  its  sparkle,  or 
quartz,  charming  from  its  crystallizations.  No  matter; 
the  first  step  is  taken  when  the  first  specimen  is  carried 
home  and  compared  with  some  description  in  any  encyclo¬ 
paedia  or  hand-book.  What  an  interest  the  first  fossil  has  ! 
A  stone  is  picked  up  bearing  the  distinct  impress  of  a  leaf. 
“How  curious  !”  exclaims  the  finder.  “Surely  this  is  a 
fossil  ” ;  and  thence  inquiry  proceeds.  A  fossilized  fern, 
carrying  one  back  to  the  Carboniferous  age,  rouses  at  once 
interest  and  inquiry.  It  is  carried  home  and  labeled,  placed 
perhaps  on  a  shelf,  and  almost  forgotten  ;  but  the  eyes  that 
found  it  search  instinctively  for  more,  and  in  time  some 
curious  stone  or  crystallization  finds  a  place  beside  it,  and 
little  by  little  a  knowledge  of  the  indication  of  each  is  ac¬ 
quired.  Those  fortunate  persons  who  live  near  museums 


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have  a  ready  reference  at  hand.  They  have  only  to  look 
long  enough  to  discover  a  facsimile  of  their  new-found 
treasure  already  classified  and  labeled.  How  pleasant  it  is 
when  this  happens  !  it  seems  to  dignify  the  little  bit  of 
stone  or  crystal,  and  to  make  it  a  valuable  acquisition  at 
once.  And  the  taste  for  seeking  out  specimens  once  awak¬ 
ened,  what  treasures  of  knowledge  are  opened  up  !  The 
old  child’s  story  of  “Eyes  and  No  Eyes”  is  carried  out 
every  day  in  practical  life.  The  eyes  once  opened  to  look 
for  fossils,  are  awakened  to  a  thousand  facts  hidden  before. 
The  mind  takes  in  the  striations  of  rocks  ;  every  change  in 
the  soil  is  recognized  as  carrying  with  it  historical  signifi¬ 
cance  ;  visits  to  the  rocky  portions  of  the  country  have  a 
new  delight  ;  while  the  shifting  sands  of  the  shore  are  called 
upon  to  reveal  their  treasures. 

A  collector  of  fossils  is  like  a  person  with  second-sight. 
To  him  every  particle  of  the  earth’s  surface  is  fraught  with 
meaning,  and,  his  senses  once  fully  awakened,  new  facts 
dawn  upon  him  like  a  continuous  revelation.  We  would 
urge  every  one  to  cultivate  a  taste  for  fossils  ;  it  will  lead  to 
occupation  for  many  pleasant  hours. 

Shells,  too,  afford  immense  interest  to  the  collector. 
The  idle  hours  spent  upon  the  sea-shore  are  full  of  delight 
to  those  who  are  bent  on  collecting  such  specimens.  What 
histories  lie  in  the  tiny  shell  tossed  up  upon  some  rocky 
shore,  or  drifted  by  mere  force  of  current  and  the  action  of 
time  into  the  quiet  nook  where  sand  must  be  sifted  deeply  to 
gain  possession  of  it !  Each  little  treasure  rescued  from  its 
hiding-place  is  another  link  in  the  great  chain  of  Nature, 
has  its  own  place  in  the  grand  march  of  Order,  and  is  as 
indispensable  to  it  as  the  collector  himself.  The  seeker 
after  fossils  will  here  meet  with  many  shells  lying  imbedded 
for  centuries  in  rock,  to  tell,  when  found,  their  story  of  the 
wonderful  changes  and  revolutions  of  the  marine  world  ; 
while  to  the  collector  of  shells  there  can  be  no  greater  en- 


COLLECTING. 


93 


joyment  than  that  of  tracing  the  links  which  bind  the 
brachiopod  and  mollusks  of  forgotten  centuries  to  the 
clams  and  mussels  of  to-day. 

Clearly,  collections  like  these  have  a  value  of  their  own, 
deeper  and  more  enduring  in  significance  than  many  a 
valued  jewel  or  priceless  possession. 

Interest  of  a  more  personal  kind  belongs  to  what  may 
be  called  historical  collections  ;  such  are  those  of  seals,  old 
laces,  bric-a-brac,  and  china.  The  collector  of  seals  has  a 
wide  field,  and  one  that  will  amply  repay  the  effort  neces¬ 
sary  to  secure  specimens.  Impressions  of  signet-rings  dug 
up  from  the  graves  of  long-forgotten  potentates  may  lie 
side  by  side  with  that  of  some  celebrity  of  to-day.  Koyal 
seals,  seals  that  have  been  attached  to  documents  rife  with 
the  destinies  of  nations,  seals  belonging  to  Masonic  orders 
or  to  time-honored  institutions,  the  seals  of  the  different 
universities,  to  say  nothing  of  the  seals  of  persons  distin¬ 
guished  in  literature,  science,  and  art — all  have  a  value  of 
their  own.  In  England  many  collectors  spend  innumer¬ 
able  hours  of  leisure  in  making  impressions  of  “  brasses  ” — 
that  is  to  say,  of  those  brass  tablets  which  are  sunk  in  the 
stones  of  many  chancels  in  the  old  churches  of  the  United 
Kingdom.  Such  a  collection  is  valuable  to  archaeologists 
and  antiquaries,  but  scarcely  comes  within  the  scope  of 
home  occupations. 

The  desire  for  the  possession  of  autographs  is  a  different 
matter.  Such  a  collection,  if  well  arranged,  is  of  great 
value  and  interest  to  every  one.  It  is  often  very  amusing, 
on  looking  over  a  book  of  autographs,  to  gauge  the  relative 
estimation  in  which  the  celebrities  are  held.  Some  great 
men  have  realized  handsome  sums  from  the  sale  of  their 
own  autographs,  and,  indeed,  it  has  lately  become  so  serious 
a  matter  for  persons  of  any  celebrity  to  answer  the  calls 
made  upon  them  for  their  signatures,  that  many  have  been 
forced  to  set  a  price  upon  them,  and  have  devoted  the  pro- 


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ceeds  to  charities.  And  yet,  directly  a  price  is  set  upon  an 
autograph,  its  value  to  the  true  collector  is  gone. 

It  is  the  difficulty  of  acquisition  that  lends  zest  to  the 
occupation,  and  directly  that  difficulty  can  be  overcome  by 
the  mere  exchange  of  dollars  and  cents  it  degenerates  into 
a  matter  of  trade ;  while  we  do  not,  for  a  moment,  mean  to 
say  that  additions  to  collections  should  never  be  made  by 
the  purchase  of  rare  specimens  if  they  can  not  be  obtained 
in  any  other  way,  certainly  such  a  method  of  addition 
should  be  the  exception  rather  than  the  rule. 

The  collections  of  wealthy  persons  are  often  lacking  in 
interest  for  this  very  reason  ;  and,  as  a  pleasant  occupation 
for  leisure  hours,  collecting  ceases  to  be  legitimate  when  it 
becomes  a  mere  matter  of  bargaining. 

A  collection  of  butterflies  and  moths  is  often  a  beautiful 
memento  of  a  country  visit,  and  there  is  no  objection  to  it 
if  the  specimens  are  killed  at  once,  as  they  can  be,  pain¬ 
lessly,  by  dropping  chloroform  or  ether  upon  them  ;  but 
sometimes  the  lingering  agonies  of  insects  make  one  wish 
that  collections  were  forbidden  by  law.  We  recall  one  in¬ 
stance  of  a  rare  specimen  of  a  horned  bettle,  which,  after 
being  twice  chloroformed,  persisted  in  writhing  in  torture, 
and,  after  being  closely  shut  up  in  a  small  wooden  box, 
horrified  his  captor  by  raising  the  lid  and  making  a  rapid 
descent  to  the  carpet,  to  be  re-captured,  re-chloroformed, 
and  finally  to  make  his  escape  after  all !  This  was,  it  is 
true,  a  remarkably  hardy  specimen  ;  and  generally  the  ap¬ 
plication  of  ether  will  prove  sufficient  to  extinguish  life,  or, 
at  all  events,  blunt  sensibility. 

What  shall  we  say  of  collections  of  bric-a-brac  and  rare 
china  ?  These  are  generally  so  essentially  matters  of  price 
that  they  scarcely  come  within  the  scope  of  home  occupa¬ 
tions  ;  every  one  realizes  their  charm,  especially  when  his¬ 
torical  interest  attaches  to  a  rare  cup  or  vase  ;  but  such 
treasures,  unless  they  are  heir-looms,  are  rarely  to  be  ob- 


COLLECTING. 


95 


tained  by  simply  seeking  for  them.  They  belong  exclu¬ 
sively  to  the  owners  of  long  purses. 

A  collection  of  flowers,  ferns,  and  grasses  is  always  in¬ 
teresting,  and  the  formation  of  an  herbarium  is  an  occupa¬ 
tion  that  has  immense  advantages,  so  much  is  necessarily 
learned  in  the  pressing,  drying,  arranging,  and  classifying 
of  specimens.  While  botany  in  itself  naturally  forms  a  dis¬ 
tinct  branch  of  study,  a  great  many  botanical  facts  will  be 
picked  up  in  this  occupation  for  leisure  hours  without 
direct  study.  Just  as  the  collector  of  fossils  and  shells  will 
gain  an  increasing  knowledge  of  the  revolution  of  the  ages, 
so  the  collector  of  flowers  will  learn  by  experience  how  to 
classify  the  specimens  and  acquire  a  knowledge  of  the  dif¬ 
ferent  portions  of  plants  which  is  invaluable.  “  Botany,” 
it  has  been  said,  “  is  only  to  be  learned  in  fields  ”  ;  and  the 
collector  who  has  brought  home  some  rare  specimen,  ex¬ 
amined  and  dried  it,  placed  it  apart,  until  another  similar 
to  it  in  characteristics  can  be  found  to  keep  it  company, 
will  be  seeking  out  the  fundamental  principle  of  the  sci¬ 
ence. 

The  taste  for  collecting  is  one  that  grows  by  what  it 
feeds  upon,  and  those  who  have  never  tried  can  not  do 
better  than  begin.  There  is  no  surer  indication  of  a  happy 
cultivated  home  than  that  furnished  by  the  existence  of 
“  hobbies,”  and  there  is  no  hobby  at  once  so  delightful,  and 
so  full  of  interest  and  instruction,  as  the  ‘‘hobby”  for 
making  collections. 

In  every  home  where  there  are  boys,  the  value  of  a  col¬ 
lection  of  birds’  eggs  is  well  known,  often  branching  out  as 
it  does  into  the  acquisition  of  rare  nests,  and  teaching 
much  of  the  habits  and  classification  of  birds.  Recently  a 
new  occupation  has  been  suggested  "for  those  who  lead 
active,  outdoor  lives,  in  the  collection  of  “woods.”  The 
woods  of  this  country  comprise  so  many  varieties  that  a 
collection  of  home  woods  could  be  extremely  varied  ;  and 


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as  most  trees  have  “burls”  or  excrescences,  these  can  easily 
be  cut  off  as  specimens,  and,  while  the  bark  is  left  on,  the 
inner  side  can  be  planed,  polished,  and  varnished.  Such 
a  collection  once  begun  would  lead  to  much  interesting 
discussion,  and  soon  grow,  after  the  manner  of  collections, 
to  comprise  specimens  of  foreign  woods  obtained  from 
traveling  friends,  and  become,  in  course  of  time,  of  solid 
interest  and  value. 

Then  there  are  collections  of  monograms  and  crests,  the 
interest  of  which  depends  rather  upon  individual  taste  than 
upon  any  intrinsic  value,  unless,  indeed,  the  crests  are  those 
of  notable  persons,  and  have  a  heraldic  significance,  when, 
of  course,  they  may  be  arranged  and  classified,  and  serve  a 
very  useful  end  in  affording  information  which  may  par¬ 
take  of  an  historical  character. 


X. 

MAKING  SCRAP-BOOKS. 

What  a  variety  of  ideas  the  thought  of  a  scrap-book 
conjures  up  !  What  an  old-fashioned  thing  it  is,  and  yet 
how  it  stands  its  ground,  not  to  be  driven  from  the  field 
even  by  that  modern  edition  of  the  same  idea — the  album  ! 

Everybody  possesses,  or  has  possessed,  a  scrap-book  of 
some  kind  or  other.  How  much  pleasure  it  has  probably 
afforded,  how  many  heavy  hours  of  sickness  and  convales¬ 
cence  have  been  beguiled  by  it !  The  scrap-book  is  abso¬ 
lutely  invaluable  in  the  nursery ;  from  it  the  child  gains 
his  first  ideas  of  pictures,  of  form  and  color ;  then,  later 
on,  the  growing  boy  has  his  book  for  quaint  oddities  and 
scraps,  and  the  budding  girl  preserves  all  sorts  of  senti¬ 
mental  poetry — shows  her  appreciation  of  an  author  by  copi¬ 
ous  extracts  copied  into  her  scrap-book. 

With  what  a  smile  of  amusement  at  our  forgotten  selves 
we  look  over  some  old  book  of  selections  made  in  our  fresh 
youth,  in  our  ignorance  of  life,  our  enthusiasm,  and  antici¬ 
pation  !  How  we  copied  moral  sentiments,  and  underlined 
every  other  word  !  How  we  delighted  in  fragments  of 
Byron,  and  quoted  from  our  recollection  the  eloquent  ut¬ 
terances  of  a  favorite  minister  !  Every  one  of  us  has  done 
it.  There  have  been  times  in  every  life  when  the  scrap-book 
has  played  a  most  important  part,  and,  after  the  lapse  of 
years,  how  much  sweetness  and  sadness  hang  about  us  as 
we  turn  the  pages  and  remember  the  occasions  upon  which 


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this  and  that  addition  was  made  !  How  joyfully  we  bought 
the  hook,  and  placed  our  name  on  the  first  page  !  how  fas¬ 
tidious  we  were  over  the  first  entries,  how  imperceptibly,  as 
time  went  on,  the  insertions  changed  in  character  !  What 
histories  lie  hidden  between  the  leaves — true  histories  of  our 
inmost  selves — each  addition  to  our  scrap-book  a  mile-stone 
on  our  mental  journey  ! 

The  scrap-book  proper  is  like  a  piece  of  patchwork, 
made  up  of  odds  and  ends  ;  but  it  has  many  varieties,  each 
one  differing  according  to  its  individual  possessor.  The 
genuine  scrap-book  has  no  legitimate  arrangement.  Into 
it  goes  promiscuously  all  that  interests,  amuses,  or  strides 
us,  and,  in  turning  over  the  pages  of  such  an  one,  a  recipe 
for  clarifying  jelly  will  meet  us  side  by  side  with  a  quota¬ 
tion  from  Tennyson,  Macaulay,  or  Longfellow.  And  such 
an  olla  podrida  is  not  to  be  despised.  It  is  a  scrap- book  ! 
How  fascinating  it  is  sometimes  to  fall  upon  such  an  one 
and  rake  it  over,  catching  here  and  there  at  gems  of 
thought-  which  shine  the  brighter  for  the  atmosphere  by 
which  they  are  surrounded  !  And  certainly  there  ought  to 
be  plenty  of  fun  in  a  scrap-book  !  Every  witty  addition 
that  can  be  made  should  be  made.  Selections  from  hu¬ 
morists  are  always  overpowering  ;  so,  too,  are  the  collections 
of  funny  sayings,  comicalities,  etc.  The  heaviest  part  of  a 
dull  magazine  is  invariably  the  joker’s  column,  for  a  joke 
is  like  gingerbread — a  little  of  it  satisfies ;  but  in  a  scrap¬ 
book  every  joke  is  legitimate  ;  it  is  precious,  and  it  ought 
to  be  preserved,  for  sad  moments  are  sure  to  come,  and 
the  brief  smile  called  up  by  an  unexpected  joke  is  not  to  be 
despised. 

For  such  an  ordinary  scrap-book  as  this  little  is  needed. 
Only  a  blank-book,  a  little  paste,  and  a  pair  of  scissors. 
Cuttings  and  clippings  from  newspapers,  brief  quotations, 
curious  data,  interspersed  with  notable  illustrations,  soon 
outgrow  the  volume,  and  there  are  many  people  who  possess 


MAKING  SCRAP-BOOKS. 


99 


quite  a  number  of  such  collections  of  odds  and  ends.  And 
very  valuable  people  they  are  as  acquaintances,  for  no  mat¬ 
ter  what  subject  comes  up,  they  are  sure  to  know  something 
about  it,  until  “Just  look  in  my  scrap-book”  becomes  a 
family  by- word. 

There  is  as  little  system  about  this  sort  of  scrap-book, 
indeed,  less,  than  about  the  one  destined  for  the  nursery,  to 
which  we  refer  again  merely  to  suggest  that  it  should  be 
indestructible,  and  for  that  end  should  be  made  up  of  pages 
of  coarse  linen,  which  can  be  bound  with  ribbon  or  overcast 
with  silk  at  the  edges,  and  upon  which  the  pictures  can  be 
securely  pasted,  so  that  the  pressure  of  little  fingers  can  not 
roll  them  up  or  tear  them  out.  Such  books  as  these  are  in¬ 
valuable  in  hospitals,  and  it  would  be  no  idle  occupation  for 
a  leisure  hour  to  construct  such  an  one,  choosing  bright, 
lively  pictures,  if  possible,  with  plenty  of  figures  in  them, 
which  would  suggest  stories  to  be  told  to  while  away  those 
tedious  hours  of  weakness  that  are  so  touchingly  endured 
by  little  ones  in  hospital  wards.  No  one  can  realize  the  joy 
such  a  scrap-book  can  give  to  those  whose  homes  are  too 
often  devoid  of  anything  like  pictures  or  books.  The  choice 
of  colored  scraps  is  so  entirely  one  of  individual  taste,  and 
often  so  limited  by  possibilities,  that  it  is  useless  to  say  any¬ 
thing  upon  that  subject ;  but  we  are  not  inclined  to  agree 
with  those  who  maintain  that  inartistic  pictures  give  false 
ideas  of  form,  etc.,  to  children.  The  children  who  delight 
in  scrap-books  are  not  usually  impressed  by  the  style  of  the 
pictures.  The  charm  for  them  lies  in  the  details,  in  the  figure 
of  a  woman  that  represents  mamma,  or  of  the  kitten  that 
is  the  exact  likeness  to  the  little  beholder  of  the  nursery  pet. 
To  older  children  it  may  be  well  to  exercise  discretion,  but 
for  the  little  ones,  let  them  have  variety,  color,  and  the  sem¬ 
blance  of  familiar  objects,  and  they  are  content ;  for  them 
“a  spade  is  a  spade,  and  not  a  garden  implement.” 

With  regard  to  more  elaborate  scrap-books,  many  sug- 


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gestions  may  be  made.  There  are  such  varied  possibilities 
in  their  construction.  If,  for  example,  they  take  the  form 
of  classified  scrap-books,  they  may  be  arranged  with  system¬ 
atic  adherence  to  a  plan,  and  become  of  very  great  value. 
One  such  we  know  of,  belonging  to  a  young  lady,  in  which 
there  are  twenty-six  classified  divisions,  each  one  of  which  rep¬ 
resents  a  department  of  history,  science,  art,  or  biography. 
All  scraps  cut  from  newspapers,  or  extracts  copied  from 
periodicals  and  books,  are  entered  under  the  head  to  which 
they  legitimately  belong  ;  thus,  after  a  while,  facts  are  ac¬ 
cumulated  which  are  of  real  interest  and  value.  If,  for 
example,  a  celebrated  man’s  name  is  the  heading  for  one 
division,  everything  that  is  met  with  in  reading  concerning 
him  will  be  entered  under  his  name.  By  this  means  anec¬ 
dotes  relating  to  certain  persons,  facts  in  their  history, 
dates,  and  other  matters  concerning  them,  are  all  system¬ 
atically  arranged,  and  the  only  limit  to  the  information 
thus  brought  together  lies  in  the  reading  of  the  owner. 

A  less  elaborate  scrap-book  can  be  made  by  simply  di¬ 
viding  it  into  three  parts — as,  for  instance,  facts,  events, 
cpiotations — but  this  collection,  however  valuable,  would 
never  equal  that  already  described. 

Photographic  scrap-books  are  delightful.  They  should 
be  made  of  thick  gray-toned  paper,  and  all  the  photo¬ 
graphs  inserted  should  be  unmounted  and  as  far  as  possible 
classified — that  is  to  say,  those  of  persons  should  be  kept 
apart  from  those  of  scenery,  architecture,  or  statuary. 
Photographic  scrap-books  acquire  distinct  value  with  age, 
it  being  often  impossible  to  obtain  fresh  proofs  of  old  ones. 

Inset  books,  as  they  are  called,  have  a  great  fascination 
for  many  collectors,  and  come  easily  within  the  scope  of 
home  occupations,  if  not  planned  on  too  ambitious  and 
expensive  a  scale.  A  book  on  any  suitable  topic  is  selected, 
and  a  cojiy  procured,  if  possible,  printed  with  extra  large 
margins.  The  work  is  then  carefully  studied,  and  diligent 


MAKING  SCRAP-BOOKS. 


101 


search  made  for  portraits  of  all  the  persons,  and  views  of 
all  the  places,  mentioned  therein.  These  pictures  must  he 
carefully  mounted  on  paper  or  Bristol-board  of  the  right 
size,  and  in  due  time  hound  into  the  volume.  Inset  books 
are  sometimes  planned  on  a  grand  scale,  involving  years  of 
time  and  thousands  of  dollars  of  expense — as  in  case  of  an 
edition  of  Shakespeare  by  a  New  York  collector,  which  re¬ 
quired  one  man’s  time  for  two  years  simply  to  mount  the 
pictures  collected  for  it ;  but  any  person  may  make  an  in¬ 
set  book  on  a  simple  plan,  and  find  it  a  very  fascinating 
task.  It  is  not  uncommon  for  the  young  people  of  a  house¬ 
hold  to  make  collections  of  engravings  ;  but  collections 
made  for  an  inset  book  are  much  more  definite  in  purpose, 
far  more  instructive,  and,  consequently,  of  greater  interest. 
If  one  took  a  history  of  the  Revolution,  or  of  the  Rebellion, 
or  the  biography  of  any  noted  person,  and  industriously 
collected  all  the  portraits  and  pictures  he  could  find  in 
other  books  in  the  print-shops  relating  to  the  subject,  he 
would  incidentally  learn  much  more  about  it  than  other¬ 
wise,  and  derive  a  great  deal  of  pleasure  from  the  occupa¬ 
tion. 

As  a  great  many  books  have  to  be  cut  up  in  order  to 
make  an  inset  book,  the  cost  is  apt  to  be  considerable  ; 
hence,  in  projects  of  this  kind,  one  must  be  governed  by 
the  amount  he  can  afford  to  set  aside  for  such  a  purpose. 


XI. 

THE  USES  OF  CARD-BOARD. 

There  is  certainly  a  great  deal  to  be  said  in  favor  of 
inexpensive  occupation.  The  possibility  of  making  pretty 
things  which  shall  cost  next  to  nothing  has  very  much  to 
recommend  it ;  and  for  that  reason  it  is  well  to  consider 
what  may  be  done  with  card-board,  which  can  be  purchased 
for  a  mere  trifle,  and  is  within  the  reach  of  everybody. 

Common  rough  card-board  can  be  turned  to  great  ac¬ 
count  in  skillful  hands.  Models  can  be  made  of  it  which 
will  delight  the  hearts  of  children  and  satisfy  the  artistic 
requirements  of  older  people.  One  of  the  easiest  objects  to 
model  in  this  material  is  a  house,  or  cottage— such,  for  ex¬ 
ample,  as  that  in  Fig.  22,  for  which  we  furnish  diagrams. 
If  the  house  is  intended  to  represent  one  with  rough-cast 
walls,  a  piece  of  rough  drawing-paper,  such  as  is  used  for 
water-color  drawing,  can  be  pasted  over  the  sheet  of  card¬ 
board  from  which  it  is  cut.  This  must,  however,  be  very 
carefully  done ;  otherwise,  inequalities  or  blisters  will  ap¬ 
pear.  We  should  advise  thin  paste  being  spread  over  the 
drawing-paper,  which  can  then  be  laid  flat  upon  the  card-, 
board  and  covered  with  a  sheet  of  waste  paper,  and  then 
well  rubbed  down  with  a  thick  folded  cloth,  and,  as  it 
dries,  a  warm  flat-iron  can  be  rapidly  passed  over  the  sur¬ 
face  with  very  gentle  pressure.  This  method  will  be  found 
exceedingly  useful  by  those  who,  being  distant  from  stores, 
are  not  able  to  procure  exactly  the  kind  of  card-board  they 


THE  USES  OF  CARD-BOARD. 


103 


want,  as  by  this  means  it  would  be  possible  to  add  thick¬ 
ness  and  roughness  to  their  smooth  card-board. 


Fig.  22.— Cottage. 


For  the  construction  of  the  little  cottage,  which  will 
make  a  pretty  model,  the  lirst  considerations  will  be  the 
back,  the  front,  and  two  gable-ends.  For  the  gable,  the 
rectangle,  A,  B,  C,  D  (in  Fig.  23),  must  be  drawn  on  the 
card-board,  two  arcs  being  described  by  taking  in  the  com¬ 
pass  the  length  of  the  line  B,  C — B  being  the  center  for  the 
first  arc  and  C  for  the  second,  which  will  intersect  the  first 
at  E,  and  so  form  the  point  of  the  gable.  The  lines  from 


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B  to  E  and  from  C  to  E  will  then  give  the  general  form  of 
the  gable-end. 

On  the  sides  of  the  square  the  slips  F  and  G  must  be 


a 


left,  the  vertical  lines  being  cut  to  about  half  the  thickness 
of  the  card-board,  the  upper  portion  of  the  slips  being 


Fig.  28. — Koof,  Gable,  and  Chimney, 


THE  USES  OF  CARD-BOARD. 


105 


stripped  off  with  a  penknife,  the  remainder  folded  hack  at 
right  angles  to  the  surface,  for  the  attachment  of  front  and 
back. 

Slips  of  the  same  kind  are  left  at  H  and  I,  which  must 
be  bent  down  for  the  attachment  of  the  roof.  These  slips 
on  the  slanting  side  of  the  gable  will  not  extend  as  far  as 
the  gable-point,  but  the  gable  must  be  continued  in  the 
shape  of  a  rectangle,  which  forms  the  sides  of  the  chimney. 
This  rectangle  can  be  extended,  and  vertical  lines  may  be 
drawn  to  mark  the  widths  of  the  sides  of  the  chimney- 
stack,  which  lines  are  to  be  cut  half  through,  so  that  the 
sides  can  be  bent  into  their  places  and  the  edges  glued  up. 
A  piece  of  card-board  is  then  put  over  the  top  of  the  stack, 
and  over  this  the  chimney-pots  are  placed. 

If  a  smaller  cottage  than  that  suggested  is  wished,  the 
gable-ends,  front  and  back,  can  all  be  made  in  one  piece  of 
card-board,  the  lines  at  the  angles  being  cut  half -through, 
so  that  each  part  can  be  bent  into  its  proper  position.  The 
roof  can  be  cut  out  in  the  necessary  shape,  the  length  being 
slightly  longer  than  that  of  the  front  of  the  cottage,  to  al¬ 
low  of  the  projection  of  the  eaves.  Fig.  23  gives  the  width 
of  the  roof  both  back  and  front,  the  line  A  to  B  being  the 
center,  and  upon  this  line  the  roof  is  bent  to  fit  to  the  same 
incline  as  the  gable-ends.  Before  cutting  out  the  different 
portions  of  the  cottage  it  is  a  good  plan  to  draw  the  win¬ 
dows  and  door.  These  can  be  painted  in  water-colors,  or 
the  windows  can  be  cut  out  and  glass  pasted  behind  them. 
There  is  a  very  thin  glass  sold  for  mounting  objects  for  the 
microscope  which  answers  admirably  for  this  purpose.  It 
is  well  to  color  the  roof  before  it  is  placed  in  position,  and 
to  mark  the  outline  of  the  slates  regularly.  The  chimney¬ 
pots  can  be  made  of  card-board,  either  square  or  cylindrical, 
as  may  be  preferred ;  and  a  tasteful  worker  can  add  win¬ 
dow-boxes,  a  porch  over  the  door,  or  any  decoration  that 
may  be  fancied.  A  garden  can  be  made  by  sprinkling  sand 


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over  card-board  prepared  by  mucilage,  or  moss  for  a  grass- 
plot.  Painted  card-board  leaves,  to  represent  ivy,  can  bo 
placed  up  the  front  and  on  the  walls,  and  ingenuity  will 
suggest  various  possible  additions. 

Toys  of  all  kinds  can  be  fashioned  out  of  card-board, 
fiom  dancing  dolls  to  elaborate  cabs,  stages,  and  steam-cars, 
to  say  nothing  of  animals,  which  are  most  satisfactorily 
copied  in  this  material.  In  fact,  a  sheet  of  card-board,  a 
pot  of  paste,  a  pair  of  scissors,  and  a  few  paints,  may  fur¬ 
nish  occupation  and  entertainment  for  many  leisure  hours. 

Among  the  useful  articles  to  be  made  of  it,  we  may 
name  wall-pockete,  which  are  certainly  more  or  less  indis¬ 
pensable  in  all  houses.  Such  an  one,  for  example,  in  card¬ 
board  fret- work,  can  be  made  by  cutting  a  straight  piece  of 
card-board  about  eight  inches  deep  and  seventeen  inches 
long,  while  a  bottom  is  formed  of  the  same  material,  seven¬ 
teen  inches,  wide,  and  two  strips  of  card-board,  each 
twenty-one  inches  long  and  three  in  width,  form  the  front. 
These  stiips  are  first  cut  into  twenty  portions  of  exactly  the 
same  size,  each  one  being  then  bound  with  scarlet  ribbon. 
To  connect  the  two,  a  strip  of  cloth  of  the  same  length  and 
two  inches  wide  is  embroidered  or  braided  in  scarlet  silk  or 
braid  design,  and  joined  to  either  piece  of  card-board  by 
crocheting  a  chain  in  scarlet  or  white  floss  silk.  Through 
the  lattice-work  of  the  twenty  card-board  sections  scarlet 
ribbon  is  run,  while  the  whole  of  the  inside  is  lined  with 
silk  or  muslin,  and  the  portions  of  the  wall-pocket  sewn 
together.  A  narrower  strip  of  card-board,  cut  into  smaller 
sections,  and  having  the  ribbon  run  through  in  the  same 
manner,  finishes  off  the  top  of  the  back.  Scarlet  and  gray 
zephyr  furnishes  the  suspension  cord,  and  finishes  off  a  very 
effective  piece  of  work ;  of  course,  the  color  is  a  matter  of 
individual  taste. 

A  still  more  useful  pocket,  for  the  reception  of  newspa- 
peis,  letters,  etc.,  can  also  be  cut  out  in  card -board,  the 


THE  USES  OF  CARD-BOARD. 


107 


back  part  being  eleven  and  one  fifth  inches  wide,  twelve 
inches  in  height  at  the  center,  and  cut  off  slanting  to  the 
sides,  where  it  should  be  nine  inches.  The  front  piece 
should  be  nine  inches  high,  and  the  same  width  as  the 
back.  The  material  selected  for  covering  can  be  a  matter 
of  choice.  Plush  or  velvet  would  be  handsome,  while  a  de¬ 
sign  can  be  worked  in  raised  embroidery  for  the  center,  and 
the  whole  finished  off  with  a  cord  carried  round  the  edge, 
and  completed  at  the  center  by  a  fancy  knot  and  tassels. 
There  are  no  side-pieces  to  this  pocket,  and,  as  the  front  is 
not  rounded  off,  it  is  necessary,  to  prevent  the  papers  from 
falling  out,  to  have  the  front  and  back  connected  in  some 
way.  This  is  effected  by  a  lacing  of  cord,  crossed  at  alter¬ 
nate  holes,  which  are  made  in  the  ends  of  the  card-board  by 
a  stiletto. 

Pockets  for  the  bed-head,  stands  for  watches  and  rings, 
etc.,  will  suggest  themselves  to  the  worker  in  plain  card¬ 
board,  while  the  uses  for  fancy  card-board,  either  perforated, 
gold,  or  silver,  are  very  numerous.  A  very  pretty  work- 
basket  can  be  made  by  simply  using  perforated  silver  card¬ 
board  upon  a  foundation  or  ground  of  ordinary  pasteboard. 
To  form  the  basket,  two  ovals  are  first  cut  for  cover  and  bot¬ 
tom,  each  seven  and  three  fifth  inches  long,  and  five  and  one 
fifth  inches  wide.  The  side  must  be  three  and  one  fifth 
inches  high,  and  long  enough  to  reach  round  the  bottom. 
A  piece  of  the  perforated  card-board,  embroidered  in  a  de¬ 
sign  of  green  leaves,  purple  flowers,  and  brown  stems,  worked 
in  long  stitch  in  floss  silk,  is  placed  over  the  strip  which 
forms  the  side  of  the  basket,  while  an  oval  piece  to  cover  the 
lid  is  left  plain.  Sides  and  bottom  are  connected  by  over¬ 
hand  stitches,  and  the  cover  is  joined  at  one  of  the  long  sides 
in  the  same  manner.  To  decorate  the  cover,  the  perforated 
card-board  is  lined  with  satin,  which  shows  through  it, 
while  for  the  inside  of  the  lid  satin  of  the  same  color  is 
quilted  over  batting,  in  diamond  pattern,  with  white  silk. 


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HOME  OCCUPATIONS. 


The  cover  is  then  edged  with  niching,  and  a  button  and  loop 
of  silk  or  elastic  serve  to  keep  the  basket  closed.  A  handle 
is  made  of  thick  silk  cord,  or  of  the  silver  card-board  sim¬ 
ply  scalloped  out  and  worked  in  over-stitch,  while  the  inte¬ 
rior  of  the  basket  can  he  fitted  with  pin-cushion,  little  side- 
hags,  and  straps,  to  suit  requirements. 

Very  pretty  things  can  be  made  of  this  silver  card-hoard 
by  selecting  the  coarser  qualities,  and  running  narrow  rib¬ 
bons,  or  No.  1  velvet,  through  the  holes  in  intricate  designs. 
Patterns  of  all  kinds  can  be  worked  in  it  in  filoselle,  or  or¬ 
dinary  floss  silk,  and  there  is  no  limit  to  the  fancy  articles 
which  can  be  made  in  it. 

The  most  beautiful  use,  without  exception,  to  which 
card-board  can  be  put,  is  that  of  making  raised  or  embossed 
work,  which  has  been  brought  to  the  greatest  perfection — so 
much  so  that  a  Maltese  cross  in  perforated  card  will  look  at 
a  little  distance  like  one  in  carved  ivory.  The  method  of 
embossing  is  not  exactly  difficult,  but  it  requires  great  care 
and  nicety,  and,  if  well  done,  should  have  the  appearance  of 
carving  in  relief.  Such  embossed  work  serves  admirably  for 
frames  for  pictures,  caskets,  shrines,  etc.  We  will  suppose 
a  worker  to  have  in  view  the  manufacture  of  a  casket 
with  colored  designs.  The  way  to  proceed  is  as  follows : 
Handsome  colored  cards  can  be  obtained  at  a  fancy  store, 
and  as  all  must  be  of  the  same  size,  it  is  better  to  buy  them 
in  sets  of  four  or  eight.  Supposing  that  there  are  eight,  a 
box  can  be  formed  in  four  panels,  two  back  and  two  front, 
while  each  end  will  require  one,  and  the  lid  two.  Eight 
pieces  of  card-board  the  size  of  the  pictures  must  be  cut, 
and  then  two  other  pieces,  each  one  hole  larger  in  every 
direction  than  the  other.  The  three  folds  are  gummed  one 
on  to  the  other,  and  held  in  position  with  a  weight  until 
dry.  After  the  third  row  is  in  place,  a  fourth  is  cut,  with 
four  holes  cut  out  in  a  square,  leaving  four  and  cutting  four 
in  length  and  breadth  ;  then  squares  of  three  holes  each  way 


THE  USES  OF  CARD-BOARD. 


109 


are  placed  on  tliese;  next,  little  pieces  of  two  holes  each  way; 
and,  finally,  tiny  scraps  of  only  one  cross  between  the  holes. 
When  each  is  gummed  in  place,  one  above  the  other,  the 
pictures  are  pasted  down  on  the  top,  the  panel  being  round 
them  like  a  frame- work.  In  making  this,  it  is  necessary  to 
count  the  holes  in  the  card-board  very  carefully,  the  largest 
being  of  such  a  size  that  in  each  successive  one  smaller  the 
reduction  by  one  hole  in  every  direction  may  allow  of  the 
last  being  a  mere  cross  between  the  four  holes. 

Photographs  of  handsome  statuary  can  be  framed  in 
panels  of  this  kind  and  formed  into  artistic  boxes.  If  the 
card-board  is  to  form  a  cross  in  relief,  the  same  method  is 
pursued,  only  the  strips  are  cut  lengthwise  without  holes, 
the  graduations  taking  place  in  the  length,  and  never  in  the 
width.  Initials  and  other  raised  work  can  be  very  prettily 
formed  by  cutting  the  bottom  piece  the  full  size  of  the 
original,  and  each  successive  piece  one  row  of  holes  smaller 
each  way. 

The  French  and  Germans  bring  this  kind  of  work  to 
such  perfection  that  it  forms  a  branch  of  instruction,  and 
it  is  often  extremely  difficult  to  find  out  how  the  intricate 
patterns  are  made,  while  in  fret-work  card-board,  as  it  is 
called,  they  perform  marvels. 

This  fret-work  consists  in  laving  card-board  upon  a 
board  or  table,  and  with  the  point  of  a  very  sharp  pen¬ 
knife  cutting  away  the  design  decided  upon.  It  is  delicate 
and  difficult  work,  from  the  exactness  and  nicety  required. 
Tho  knife  should  always  be  held  firmly,  and  the  incision 
made  by  a  straight  direct  cut,  never  by  one  in  a  slanting 
direction.  It  must  never  be  forgotten  that  every  cut  that 
meets  another  will  bring  the  entire  piece  away.  Designs  in 
fret-work  are  best  executed  in  the  finest  qualities  of  perfo¬ 
rated  card-board,  and  it  can  be  used  in  all  kinds  of  decora¬ 
tion.  For  example,  in  making  a  handkerchief-case,  the 
prettiest  effect  could  be  produced  by  a  combination  of  em- 


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bossing  and  fret-work.  A  square  foundation  of  card-board 
could  be  so  decorated,  for  instance,  in  scallops  of  graduated 
sizes  of  card-board  for  the  corners ;  while  a  design  in  the 
middle  might  be  cut  out  in  an  elaborate  pattern  in  fret¬ 
work,  the  whole  lined  with  deep  crimson  silk  or  velvet,  the 
sides  arranged  in  puffings  over  a  bottom  of  plain  card¬ 
board,  simply  covered  with  silk  of  the  same  color. 

Book-marks,  either  of  fret- work  or  of  embossed  work  in 
card-board,  can  be  mounted  handsomely  upon  ribbon,  and 
form  most  effective  gifts ;  and  there  are  so  many  pretty 
things  of  all  kinds  to  be  made  in  this  material  that  we 
may  well  leave  it  to  individual  taste  to  select  them,  merely 
referring  to  one  more,  which  will  amply  repay  the  time 
spent  upon  it,  and  that  is  a  lamp-shade  made  of  fret-work 
card-board. 

Five  pieces  of  the  card-board  are  needed  for  this,  they 
being  a  third  narrower  at  the  top  than  at  the  bottom.  In 
the  center  of  each  an  oval  space  is  cut  away,  into  which  a 
picture  or  illumination  is  fitted,  while  around  it  a  frame¬ 
work  is  made  either  by  embossing  or  cutting  away.  If  the 
latter  style  is  chosen,  pretty  designs  can  be  made  by  simply 
forming  scallops  round  the  edge  and  rounding  off  the 
corners  at  the  top,  so  that  the  oval  assumes  the  appearance 
of  an  arch  ;  then  pasting  the  strips  together  by  lacing  fine 
silk  cord  across  from  holes  in  one  to  alternate  holes  in  the 
other,  and  back  again. 

Any  one  who  has  practiced  fret- work  in  card-board  will 
readily  understand  that  there  is  almost  no  limit  to  the  de¬ 
signs  that  can  be  carried  out  in  it. 


XII. 


WHAT  CAN  BE  DONE  WITH  BEADS. 

Beads  have  an  interest  of  their  own,  for  the  use  of 
them  is  as  old  as  history  itself.  It  is  not  definitely  known 
where  they  originated,  but  the  Egyptians  used  them,  and 
probably  learned  how  to  decorate  with  them  from  the  Phoe¬ 
nicians.  There  is  in  existence,  in  the  possession  of  a  Cap¬ 
tain  Ilervey,  a  bead  found  in  an  Egyptian  tomb,  upon 
which  there  is  a  hieroglyphical  inscription  dating  back  to 
1500  b.  c.  Mummies  have  often  been  found  decorated  with 
ornamental  beads  wrought  in  a  kind  of  net- work,  different 
sizes  of  beads  forming  the  pattern. 

The  association  between  beads  and  prayers,  too,  is  very 
ancient.  The  Chinese  rosary  has  one  hundred  and  eight 
beads,  some  of  them  of  coral,  others  of  different  stones  and 
metals,  and  both  Chinese  and  Tartar  Buddhists  wear  them 
The  worshipers  of  the  great  Llama,  use  beads  in  their  de¬ 
votional  exercises,  and  the  Mohammedans  have  chaplets 
of  beads  upon  which  they  count  the  ninety-nine  qualities 
of  God,  as  detailed  in  the  Koran.  In  almost  all  primitive 
nations  beads  are  found  by  travelers.  The  Indians  of 
Mexico  and  of  New  England  have,  from  the  remotest  times, 
decorated  their  belts  with  heads,  calling  them  wampum- 
paque,  while  they  also  use  them  to  serve  the  purpose  of 
money  in  trading,  under  the  name  of  wampum. 

Our  own  word  bead  is  directly  associated  with  religious 
ceremonies,  for  it  is  derived  from  the  Anglo-Saxon  “bead,” 


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prayer,  or  the  Danish  “bede,”  to  pray,  and  no  doubt 
originated  with  the  early  custom  of  counting  beads  in  sup¬ 
plication.  We  read  of  this  in  the  very  earliest  records  of 
the  Christian  Church.  St.  Augustine  mentions  them  in 
366,  and  Peter  the  Hermit  had  a  series  of  fifty-five  beads. 
Later  on,  the  <£  rosary  ”  became  a  very  important  feature  in 
the  church,  and  in  1202  Dominic  de  Guzman  introduced 
the  fashion  of  making  it  consist  of  fifteen  large  and  one 
hundred  and  fifty  small  beads.  The  Druids  used  beads, 
and  the  Romans,  when  they  invaded  Britain,  found  many 
decorations  and  ornaments  composed  of  them. 

However  rudely  fashioned,  the  idea  of  the  bead  and  its 
use  is  found  everywhere.  Beads  of  diamonds  and  pearls 
are,  of  course,  the  most  precious,  while  the  coral  beads  of 
India,  and  gold,  silver,  and  amber  beads,  are  always  valu¬ 
able. 

Embroidering  in  beads  was  an  important  occupation  in 
the  Elizabethan  days,  and  the  history  of  needle-work  teaches 
how  often  bead-work  has  been  in  and  out  of  fashion.  The 
value  of  beads  varies  a  good  deal,  being  dependent  upon  the 
material  of  which  they  are  made,  the  perfection  to  which 
they  are  brought,  and  the  place  from  which  they  come. 
For  ordinary  glass  beads,  Birmingham,  in  England,  and  Mu- 
rano,  a  small  town  near  Venice,  provide  the  principal  manu¬ 
factories.  They  are  generally  made  of  tubes  cut  into  pieces 
of  the  desired  length,  the  edges  being  rounded  by  fusing, 
either  with  a  blow-pipe  or  by  the  application  of  heat  in 
some  way  or  other.  Every  variety  of  material  is  used  for 
the  purpose  of  making  beads,  glass  being,  of  course,  the 
most  common ;  but  crystal,  steel,  garnet,  jet,  coral,  wood, 
and  even  paste,  are  all  called  into  requisition.  They  are 
used  for  many  purposes  besides  that  of  decoration,  as,  for 
example,  eyes  for  dolls  and  toy  animals,  thousands  of  doz¬ 
ens  being  manufactured  in  Birmingham  for  this  purpose 
alone. 


WHAT  CAN  BE  DONE  WITH  BEADS. 


113 


Costly  beads  are  made  in  imitation  of  pearls,  and  can 
be  detected  from  them  by  an  expert  only.  The  pearly  ap¬ 
pearance  is  given  by  the  mixture  of  liquid  ammonia  with 
the  white  matter  from  the  scales  of  different  kinds  of  fish, 
which  is  obtained  by  removing  the  scales  from  the  lower  por¬ 
tions  of  the  fish,  and  soaking  them  in  water  until  the  pearly 
films  fall  off  and  settle  in  sediment.  This  sediment,  dis¬ 
solved  in  the  ammonia,  is  injected  into  the  beads,  forming  a 
thin  internal  coating  ;  then,  in  making  the  more  expensive 
ones,  liquid  wax  is  poured  into  them,  which  makes  them 
durable.  We  owe  the  invention  of  the  artificial  pearl  bead 
to  the  French  ;  experiments  were  made  in  the  reign  of 
Catherine  de  Medici  by  a  man  named  Jaquin,  and  since 
that  time  great  improvements  have  been  made  in  their 
manufacture,  the  inequalities  of  the  real  pearl  being  so 
exactly  copied  that  it  is  difficult  to  detect  the  artificial  from 
the  real. 

Many  most  beautiful  beads  come  from  India,  where  agate 
and  carnelian  abound,  and  where  they  are  rudely  made  by 
simply  breaking  the  stones  with  a  mallet  until  they  are  the 
size  required,  and  then  chipping  at  them  with  a  hammer 
until  they  are  rounded.  Polish  is  given  by  rubbing  them 
upon  a  board  covered  with  emery  and  lac,  and  then  placing 
them  in  a  bag  filled  with  emery  and  the  fine  powder  which 
was  left  after  the  stones  were  broken,  and  rolling  them  back 
and  forth  for  ten  or  fifteen  days  by  means  of  a  thong  worked 
backward  and  forward  by  two  men  seated  at  opposite  ends 
of  a  room.  Holes  are  drilled  in  each  one  separately  with  a 
steel  drill. 

Thus  we  see  that  in  every  country  beads  have  been  made 
and  used.  In  the  East,  with  the  profusion  that  character¬ 
izes  the  people,  large  beads,  made  by  the  slow  process  de¬ 
scribed,  are  liberally  used  in  making  up  ornaments  for  per¬ 
sonal  wear,  while  among  ourselves  there  is  scarcely  a  limit 
to  the  possible  use  of  beads  and  bead- work. 


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Since  trimming  by  beads  has  become  the  fashion,  a 
favorite  occupation  for  leisure  hours  is  found  in  beading 
dresses,  capes,  bonnets,  and  hats  ;  collars  made  of  beads  are 
often  worn,  and  we  have  recently  seen  brooches  made  of 
them,  which  are  at  least  as  valuable  and  suitable  as  those 
of  imitation  jewelry. 

Beads  for  embroidering  dresses  are  of  various  prices,  ac¬ 
cording  to  quality  and  size.  The  iridescent  beads,  which 
are  now  so  popular,  cost  from  about  fifteen  cents  a  bunch 
in  small  sizes,  up  to  fifteen  or  twenty  cents  for  a  single 
string.  Pearls  cost  from  fourteen  to  twenty  cents  a  single 
string,  and  ordinary  beads  by  the  bunch  can  be  bought 
from  ten  cents  upward. 

In  our  review  of  the  many  uses  to  which  beads  may  be 
put,  we  will  consider  first  their  value  as  decorative  agents 
in  the  home,  and  then  the  many  articles  of  dress  which 
can  be  made  more  beautiful  by  their  use. 

In  the  home,  then,  opportunities  for  their  use  are  legion. 
Lambrequins  for  the  decoration  of  brackets  can  be  embroi¬ 
dered  with  them.  Such  an  one  made  of  deep-toned  cloth, 
the  design  perhaps  of  a  vine  and  grapes,  would  be  beautiful 
if  carried  out  in  glass  and  pearl  beads — the  leaves  in  fine 
glass  ones,  with  larger  ones  for  the  veins  and  tendrils,  the 
grapes  of  assorted  pearls  of  different  sizes.  A  bead  fringe 
round  a  scalloped  edge  would  be  effective  if  it  were  made 
of  glass  beads,  with  a  pearl  drop  to  each  length.  Twenty- 
five  ordinary  sized  beads,  with  a  pearl  bead  as  foundation, 
would  make  the  lengths  for  a  handsome  fringe. 

Banner-screens  are  beautiful  if  well  embroidered  in  beads. 
Care  must  be  taken  to  place  each  bead  in  the  same  direction, 
and  fasten  it  securely  at  the  back,  so  that  the  whole  design, 
when  finished,  may  appear  perfectly  equal  in  a  sort  of 
raised  relief.  White  beads,  upon  deep-colored  grounds,  are 
always  effective,  and  so  also  are  the  iridescent  kinds  upon 
dead  white.  A  banner-screen  of  white  velvet,  embroidered 


WHAT  CAN  BE  BONE  WITH  BEADS. 


115 


in  iridescent  beads,  and  fringed  with  them,  then  mounted 
in  ebony  and  lined  at  the  back  with  shaded  satin,  would 
be  a  handsome  piece  of  work. 

In  the  same  way,  standing-screens,  embroidered  in  beads, 
are  extremely  effective ;  but  it  is  well  to  remember  that 
steel  beads,  which  are  largely  used  for  the  purpose,  tarnish 
very  readily,  and  it  is  better  to  be  content  with  plainer 
kinds  for  such  decoration. 

Hanging-baskets,  to  hold  flowers,  are  easily  made.  For 
them  different  sizes  of  beads  are  necessary — the  large  square- 
cut  varieties,  and  the  smaller  ones — and  if  two  colors  are 
chosen,  the  effect  will  be  better.  Green  and  white,  for  in¬ 
stance,  always  look  well  together.  The  materials  needed 
for  such  a  basket  are  bonnet-wire,  two  ounces  of  large  beads, 
large  enough  to  pass  over  the  wire,  and  three  ounces  of 
small  glass  beads.  A  circle  must  be  made  of  the  bonnet- 
wire,  about  three  quarters  of  a  yard  in  circumference,  and 
the  green  and  white  beads  passed  over  it  alternately,  until 
it  is  covered,  when  it  can  be  fastened  in  circular  form  by 
merely  twisting  the  ends  of  the  wire  together.  From  this 
rim,  or  circle,  the  work  proceeds.  Two  smaller  hoops  are 
covered  in  the  same  way,  and  the  three  are  connected 
together  by  cross-bars,  made  of  lengths  of  very  fine  wire  or 
coarse  thread,  covered  with  beads,  and  fastened  at  equal 
distances,  say  between  every  sixth  bead,  all  round  each 
circle.  When  the  work  is  accomplished  thus  far,  a  very 
small  ring  forms  the  base,  and  the  frame-work  is  complete. 
Twenty-four  little  tassels  are  now  made  for  the  upper  rim, 
which  consist  of  twelve  lengths  of  twenty-four  small  white 
beads,  ending  in  one  large  green  one.  These  tassels  are 
arranged  at  equal  distances  round  the  top  rim,  and  the  same, 
somewhat  smaller,  round  the  second  and  third,  while  from 
the  base  depends  one  of  double  the  size.  Three  equally 
long  strings  of  the  large  green  and  white  beads  are  fastened 
to  the  upper  rings,  and  joined  together  at  the  ends  with 


116 


no  ME  OCCUPATIONS. 


a  rosette  or  tassel  of  beads,  and  these  serve  as  hanging  sup¬ 
ports  to  the  basket.  Such  a  basket  can  serve  either  to  hold 
a  pot  with  a  blossoming  plant,  or  a  saucer  filled  with  cut 
flowers  can  be  placed  in  it.  Trailing  plants,  growing  in  a 
hanging-basket  of  this  kind,  furnish  a  window  admirably. 

There  is  another  and  perhaps  simpler  method  of  making 
such  baskets,  although,  in  our  opinion,  it  is  not  so  effect¬ 
ive.  This  consists  in  making  a  net-work  of  beads  by  fast¬ 
ening  flexible  wire  or  coarse  thread  into  a  ring,  and  so  form¬ 
ing  other  rings,  one  within  the  other,  each  an  inch  in 
diameter,  so  that  as  the  work  progresses  it  looks  like  net¬ 
work  ;  a  fringe  of  beads  can  be  sewn  around  the  upper 
circle  of  rings.  Of  course,  each  circle  is  made  somewhat 
smaller  than  the  last,  so  that  at  last  it  is  reduced  to  one 
sufficiently  small  to  form  a  base,  from  which  a  tassel  may 
depend. 

Wall-pockets  are  made  in  the  same  way.  Large  German 
beads  are  the  best  for  such  a  purpose,  and  it  is  well  to  cut 
out  the  size  and  shape  the  pocket  is  to  be,  so  that  the  rings 
can  be  made  of  the  right  size  and  number.  A  bright  satin 
lining  looks  very  well,  as  seen  through  the  rings,  and  the 
effect  is  heightened  if  it  is  left  loose,  so  that  it  can  be  slightly 
pulled  through  them,  and  present  the  appearance  of  honey¬ 
comb.  The  back  for  such  a  pocket  should  be  cut  out  in 
stiff  card-board  and  covered  with  satin,  or  less  expensive 
material  of  the  same  color.  A  handsome  bead  fringe  would 
complete  the  pocket  at  the  upper  edge,  and  two  long  tassels 
could  depend  from  either  side. 

Many  small  baskets  are  decorated  by  simply  nailing  a 
bordering  of  scalloped  cloth  round  them,  and  covering  it 
with  a  heavy  double  fringe  of  glittering  beads ;  and  such 
fringes  are  readily  made,  and  can  be  adapted  to  many  pur¬ 
poses,  as,  for  example,  finishing  off  decorations  made  of  other 
materials.  Pincushions  are  handsomely  decorated  by  raised 
bead-work.  The  usual  method  for  producing  the  raised 


WHAT  CAN  BE  DONE  WITH  BEADS.  117 


appearance  is  by  padding.  Thus,  supposing  a  design  for  a 
pincushion  of  flowers,  leaves,  and  fruit,  cotton-wool  is  sewn 
firmly  upon  all  the  portions  that  would  be  raised  naturally, 
and  the  beads  are  threaded  and  placed  in  rows  over  the  leaf 
or  fruit.  This  must  be  done  with  strict  regard  to  evenness 
and  regularity. 

Beads  are  specially  suitable  for  geometrical  designs, 
and  any  pattern  arranged  in  squares  or  sections  looks  well 
carried  out  in  beads.  All  patterns  intended  for  old-fashioned 
Berlin-work  can  be  satisfactorily  executed  in  beads,  and  the 
same  effect  is  produced  in  what  is  known  as  bead  tile-work, 
or  beads  applied  to  hard,  flat  surfaces.  This  is  accomplished 
by  first  tracing  the  design  to  be  executed  upon  the  material 
(let  us  suppose  it  to  be  of  wood),  and,  when  it  is  dry,  wash¬ 
ing  it  over  with  transparent  cement — which  can  be  made  by 
dissolving  gelatine  in  acetic  acid,  or  white  gum  dissolved 
in  vinegar  will  do.  A  wooden  handle,  with  a  small  bead- 
needle  fixed  in  it,  which  is  known  as  a  “lifter,”  is  required 
to  help  in  picking  up  the  beads,  which  must  each  be  care¬ 
fully  placed  in  position  while  the  gum  is  wet.  Smooth, 
round  beads  answer  best  for  this  work,  while  bugle  or 
sparkling  cut-beads  can  be  introduced,  if  the  effect  is  needed. 
When  a  large  space  is  to  be  covered  with  beads  of  the  same 
size  and  color,  they  may  be  strung  upon  silk,  and  the  whole 
string  fastened  on  at  once.  In  working  figures  in  this  way, 
it  is  well  to  do  the  outlines  first,  and  fill  in  the  figure  very 
carefully,  one  bead  at  a  time.  As  the  cement  dries,  a  fine 
camcl’s-hair  brush  will  be  required  to  moisten  the  spot 
where  the  bead  is  to  be  placed.  Individual  taste  will  be 
the  only  possible  guide  in  such  work,  but  we  may  suggest 
that  mosaic  patterns  are  admirably  adapted  for  it,  and  that 
outlines  of  black  beads  are  very  effective. 

When  the  work  is  completed,  and  still  damp,  it  should 
be  pressed  with  a  hard  roller,  or  pad,  and  laid  under  the 
weight  of  a  heavy  book,  and,  when  thoroughly  pressed  by 


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this  means,  a  piece  of  soft  paper  should  he  placed  over  the 
whole,  and  a  hot  iron  held  over  it  lightly. 

It  is  well  to  go  over  all  the  interstices  or  crevices  which 
may  remain  with  a  brush  dipped  in  linseed-oil ;  it  can  then 
be  dusted  over  with  pulverized  whiting  by  means  of  a  stiff 
bristle  brush,  which  can  be  well  worked  into  the  crevices. 
A  silk  handkerchief  will  give  the  beads  the  necessary  polish 
if  they  are  well  rubbed  over  with  it,  and  such  a  piece  of 
work  will  last  for  any  length  of  time. 

Waste-paper  baskets  are  very  suitable  for  decoration  by 
beads.  They  are  not  specially  sightly  objects  at  any  time, 
but  an  ordinary  wicker-work  basket  destined  for  this  use 
can  be  made  really  handsome  by  a  judicious  use  of  beads. 
The  large  ones,  known  as  German  beads,  lined  with  foil, 
are  best  for  this  use.  They  should  be  strung  upon  strong 
hoop-wire,  and,  a  foundation  being  made  of  a  wide,  strong 
hoop  fixed  round  the  bottom  of  the  basket,  a  sufficient 
number  of  lengths  thus  beaded  can  be  fastened  to  it  at  in¬ 
tervals,  and  again  securely  fastened  to  the  upper  rim  of  the 
basket,  and  other  strands  of  beaded  wire  run  over  and  under 
these  all  the  way  round  and  over  the  entire  surface,  making 
a  sort  of  plait.  Over  the  rim  of  the  basket,  hoops  of  wire, 
covered  with  beads,  can  be  placed  intersecting  each  other, 
and  below  them  loops  of  chenille  would  be  effective  ;  while 
heavy  bead  tassels  could  depend  from  the  handles.  A  lin¬ 
ing  of  muslin  or  silk  of  bright  color  would  finish  the  home¬ 
ly  waste-basket  off  in  such  a  way  that  it  would  be  quite 
transformed. 

Beaded  frames  are  easily  made  by  thus  mounting  beads 
upon  hoops  of  wire,  and  arranging  them  at  equal  distances; 
and  every  one  is  familiar  with  the  elaborate  designs  made 
in  beads  for  the  Boman  Catholic  cemeteries — circlets  of 
beaded  wire  inclosing  a  cross  or  favorite  symbol  or  mono¬ 
gram. 

The  combination  of  beads  and  wire,  of  course,  suggests 


WHAT  CAN  BE  BONE  WITH  BEADS. 


119 


many  elaborate  possibilities,  such  as  watch-stands,  baskets, 
and  other  articles  which  can  be  outlined  in  wire  and  filled 
in  with  beads  ;  but,  generally  speaking,  such  work  is  very 
difficult  and  is  seldom  successful,  and  we  therefore  prefer 
to  limit  our  suggestions  to  articles  which  are  thoroughly 
practical,  and  likely  to  give  pleasure  in  proportion  to  the 
time  bestowed  upon  them  ;  and  we  turn  now  to  a  consider¬ 
ation  of  the  value  of  beads  for  matters  of  personal  use. 

Some  of  these  are  mounted  on  wire,  such  as  bouquet- 
holders,  stars  and  crescents  for  the  hair,  wristlets,  and 
brooches ;  while  others  require  patience  and  skill  in  design¬ 
ing  or  embroidering. 

In  making  a  beaded  bouquet-holder,  which  will  be  found 
rather  a  satisfactory  piece  of  work,  the  first  requisites  are 
fine  and  coarse  crystal  beads  and  silver  wire.  Twelve  pieces 
of  the  coarser  silver  wire  are  cut  in  equal  lengths  of  eighteen 
inches,  and  laid  together  in  a  bunch,  over  the  ends  of  which 
a  wooden  knob  with  a  hole  in  it  is  passed  to  the  depth  of 
five  inches,  while  the  ends  are  closely  bound  together  with 
silk,  and  large  crystal  beads  passed  over  them  up  to  the 
knob  ;  and  then  the  wired  end  is  turned  up  double,  so  that 
it  forms  a  loop  below  the  knob,  the  ends  being,  if  possible, 
again  passed  into  the  hole,  and,  if  not,  securely  fastened 
below  it  with  wire.  The  eighteen  longer  strands  are  then 
divided,  six  of  them  being  finished  off  at  the  end  by  turning 
them  back  to  the  shape  of  leaves,  first  having  strung  them 
all  the  way  up  with  crystal  beads.  The  center  of  each  leaf, 
as  thus  formed,  is  made  of  a  smaller  strand  of  wire,  on  which 
the  same  kind  of  beads  are  closely  strung.  The  remaining 
twelve  strands  must  be  firmly  fastened  round  a  rim  under 
the  six  leaves,  and  then  a  basket-work  of  beads  is  formed 
by  interlacing  thinner  wire,  covered  with  finer  beads,  under 
and  over  each  strand.  At  the  base,  where  the  knob  is 
above  the  loop,  leaves  are  made  in  the  same  way  as  the 
larger  ones,  and  turned  down  over  the  knob,  thus  com- 
0 


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pletely  covering  it.  A  heavy  fringe  of  beads  would  answer 
the  same  purpose. 

Such  a  holder  can  be  made  in  iridescent  heads,  if  pre¬ 
ferred,  and,  if  well  made,  is  very  effective. 

Very  pretty  butterflies  are  easily  made  by  the  amateur 
workwoman.  Flexible  wire  is  easily  shaped  into  any  form, 
and  that  of  a  butterfly  is  an  easy  one  to  begin  with ;  the 
space  between  the  outlines  can  be  filled  in  with  any  light 
material,  or  with  velvet  or  silk,  if  a  design  is  to  be  ela¬ 
borated  uj)on  it.  The  horns  are  made  of  the  finest  seed 
beads  strung  upon  very  fine  wire.  Black  net  butterflies  are 
simply  cut  out  in  black  net  or  gauze,  and  worked  in  bugles 
and  round  beads  of  different  sizes,  the  raised  aj^pearance  of 
the  body  being  given  by  padding.  Ear-rings,  to  represent 
butterflies,  have  been  made  of  cut-jet  beads  on  wire,  and 
have  often  been  mistaken  for  jewelers’  work.  Fine  thread- 
wire  or  horse-hair  serves  best  for  threading  beads  for  work¬ 
ing  elaborate  designs,  as  it  is  so  easy  to  join  the  different 
parts  together  in  these  materials. 

A  pretty  and  effective  ornament  for  a  hat  can  be  made 
by  taking  an  old  buckle  and  covering  it  with  colored  silk, 
then  sewing  iridescent  beads  regularly  upon  it ;  and  many 
ornaments  which  are  expensive  to  buy  can  be  readily  made 
at  home  by  just  such  means. 

The  iridescent  beads  used  as  trimming  are  very  valu¬ 
able  in  the  matter  of  personal  decoration.  Quite  elaborate 
designs  can  be  worked  in  them,  it  being  only  necessary  to 
outline  the  pattern  carefully  upon  the  material,  and  then 
see  that  all  the  beads  lie  the  same  way.  The  iridescent 
gimp  and  fringe  which  cost  so  much  can  be  easily  made 
at  home. 

Beading  lace  is  a  favorite  occupation  with  many  ladies, 
and  one  for  which  a  variety  of  uses  can  be  found.  Spanish 
lace  embroidered  in  pearls  is  wonderfully  handsome.  We 
have  seen  a  ball-dress  of  white  satin  trimmed  entirely  with 


WHAT  CAN  BE  DONE  WITH  BEADS. 


121 


such  beaded  lace,  the  corsage  being  almost  composed  of  it, 
every  piece  having  been  beaded  at  home  as  the  occupation 
of  leisure  hours. 

In  beading  bonnets,  bugles  are  largely  used,  and  any 
lady,  by  drawing  a  handsome  design  upon  black  net,  can 
produce  a  crown  which  shall  exceed  in  beauty  anything 
that  she  is  likely  to  find  at  her  milliner’s.  The  fringes 
for  the  edges  of  bonnets  and  hats,  in  the  same  way,  are 
easily  made  ;  while  beaded  ornaments  for  which  a  great 
price  is  asked  need  cost  a  clever  worker  nothing  but  the 
price  of  the  beads  themselves.  Beaded  buttons,  for  exam¬ 
ple,  are  expensive,  and  how  easily  they  are  made  !  It  is 
only  necessary  to  cover  ordinary  forms  with  silk  or  net, 
and  then  sew  the  beads  on  with  regularity  and  precision. 

Small  Venetian  shells  are  often  used  in  bead-work. 
They  can  be  bought  already  perforated  with  holes,  and,  in 
connection  with  iridescent  beads,  make  an  effective  trim¬ 
ming. 


XIII. 

AMATEUR  PHOTOGRAPHY. 

The  popularity  of  photography  as  an  occupation  in¬ 
creases  every  day,  and  with  this  increase  we  have  a  corre¬ 
sponding  decrease  in  the  expense  attending  it. 

There  is  no  doubt  that  the  charm  of  reproducing  famil¬ 
iar  objects,  scenes,  and  persons,  is  a  great  reward  for  all 
the  care  entailed  in  the  art ;  but  it  must  not  be  forgotten 
by  the  amateur  photographer  that  no  amount  of  skill  will 
compensate  for  want  of  care  and  accuracy.  Photography 
requires  absolute  cleanliness,  and  the  slightest  inaccuracies 
in  following  the  directions  will  result  in  inevitable  failure. 

The  increasing  interest  taken  in  the  art  reminds  us 
how  many  improvements  have  taken  place  in  the  necessary 
implements  since  the  time  of  its  first  introduction  to  pub¬ 
lic  notice.  The  dawn  of  photography  was  already  near 
when  beautiful  images  of  scenery  were  depicted  by  the 
camera  obscura,  and  Mr.  Fox  Talbot,  who  was  an  en¬ 
thusiastic  believer  in  the  possibilities  of  the  camera  obscura, 
has  described  the  way  in  which  the  idea  of  photography 
first  took  shape  in  his  brain.  He  had  been  attempting  to 
sketch  by  aid  of  the  camera  obscura,  and  was  discouraged 
by  the  miserable  imitations  his  pencil  produced,  when  he 
was  led  to  reflect  “  how  charming  it  would  be  if  these 
beautiful  pictures,  which  the  glass  lens  of  the  camera 
threw  upon  the  paper,  could  be  induced  to  remain  fixed 
upon  it !  Light  can  exert  an  influence  sufficient  to  cause 


AMATEUR  PHOTOGRAPHY. 


123 


changes  in  material  bodies  ;  why  should  it  not  exert  such 
an  influence  upon  paper  that  the  paper  should  be  visibly 
changed  by  it  ?  If  it  can,  then  surely  some  effect  will  re¬ 
sult  having  a  general  resemblance  to  the  cause  which 
produced  it,  so  that  the  variegated  scene  might  leave  an 
impression  behind,  stronger  or  weaker,  according  to  the 
strength  or  weakness  of  the  light  brought  to  bear  upon  it.” 

This  was  the  thought  from  which  all  modern  photog¬ 
raphy  sprung.  Mr.  Talbot  commenced  a  series  of  experi¬ 
ments,  and  laid  the  foundation  of  the  new  art  science  ;  and 
now  it  has  been  brought  to  such  perfection  that  the  waves 
of  the  sea,  ships  in  full  sail,  a  train  at  full  speed,  and  even 
the  ball  issuing  from  the  cannon’s  mouth,  may  be  repro¬ 
duced  with  a  truthfulness  which  can  not  be  reached  by 
other  means. 

Amateurs  are,  of  course,  scarcely  likely  to  attempt  such 
feats  as  these,  although,  no  doubt,  “instantaneous  photog¬ 
raphy  ”  will  soon  become  comparatively  common.  But  as 
we  are  considering  the  matter  in  the  light  of  a  pleasant 
recreation,  and  not  as  an  art,  we  will  content  ourselves 
with  a  consideration  of  the  easiest  method  for  beginners  of 
producing  pictures. 

First,  then,  comes  the  practical  question  of  equipment 
and  expense.  Until  recently,  the  purchase  of  a  photo¬ 
graphic  apparatus  involved  a  good  deal  of  outlay,  and  the 
machinery  was  so  clumsy  that  the  fact  that  it  was  impos¬ 
sible  to  carry  it  about  was  a  serious  drawback  to  the  enthu¬ 
siastic  amateur.  Now,  however,  portable  photographic 
machine's  are  made,  and  their  low  price  brings  them  within 
the  reach  of  every  one.  A  camera,  with  double  dry  plate- 
holder,  for  making  pictures  four  by  five  inches,  and  a 
single  achromatic  lens,  with  the  case  in  which  to  stow 
them  away  and  pack  them  up,  plate-holders,  a  lens  and 
tripod,  can  be  bought  for  ten  dollars.  Formerly  the  lenses 
themselves  cost  that  amount. 


124 


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For  amateur  work  this  camera  is  sufficient,  and,  when 
some  skill  has  been  attained,  it  is  always  easy  to  buy  a  more 
expensive  outfit.  After  the  camera,  the  requirements  for 
photography  are  :  Solution  of  nitrate  of  silver  and  collo¬ 
dion  ;  a  small  glass  measure  ;  two  or  three  porcelain  dishes; 
and  a  stock  of  glass  plates  of  sizes  suited  to  the  camera. 
And,  in  addition  to  these,  a  small  stock  of  albumenized 
paper,  which  can  be  bought  at  the  art  stores ;  silver  solu¬ 
tion,  on  which  to  make  the  paper  sensitive  to  light ;  a  solu¬ 
tion  of  gold,  to  give  the  prints  their  tone  ;  and  a  solution  of 
hyposulphite  of  soda.  The  size  of  the  camera  decides  the 
proportions  of  all  the  other  requisites.  It  is  best,  on  all 
accounts,  to  buy  the  chemicals  and  acids  ready  prepared, 
and,  having  every  thing  in  readiness,  to  consider  next  how 
to  begin,  what  picture  to  take,  and  what  the  difficulties  to 
be  contended  with  really  are.  The  greatest  of  them  all 
will  he  that  of  procuring  a  room  where  absolute  dark¬ 
ness  is  possible,  for  the  purpose  of  setting  the  plates.  A 
single  ray  of  white  light  will  spoil  the  best  negative  in  the 
world,  and  it  is  surprising  to  find  how  difficult  it  is  to 
obtain  absolute  darkness. 

A  closet  sometimes  answers  the  purpose,  and  in  it 
must  be  kept  the  baths  or  pans  for  holding  the  chemicals, 
a  supply  of  clear  water,  and  a  vessel  in  which  to  put 
it  away  after  using.  Dry  plates  require  constant  washing, 
and  the  greatest  care  is  needed  in  keeping  them  from  dust, 
as  every  speck  of  it  comes  out  in  the  picture  in  tiny  spots. 
The  plates  are,  of  course,  always  kept  in  this  dark  room, 
and  in  it,  too,  they  are  placed  in  and  taken  out  of  the 
plate-holder. 

The  chemicals  require  to  be  mixed  before  using  them  for 
the  development  of  dry  plates,  and  the  best  wTay  to  prepare 
them,  is  to  take  two  ordinary  glass  preserve-bottles  and  put 
about  a  quarter  of  a  pound  of  neutral  oxalate  of  potash  in 
one,  and  the  same  amount  of  protosulphate  of  iron  in  the 


AMATEUR  PHOTOGRAPHY. 


125 


other,  pouring  warm  water  upon  them  to  dissolve  the  crys¬ 
tals.  This  constitutes  what  is  called  the  saturated  solution 
— that  is  to  sa}7,  the  water  absorbs  all  the  chemical  matter  it 
can  take  up.  The  chemicals  will  all  be  dissolved  in  about 
twenty  minutes,  and  the  solutions  should  then  be  carefully 
filtered  into  bottles  and  corked  very  tightly. 

The  solutions  ready,  the  next  point  is  to  clean  the  plates. 
This  can  not  be  too  carefully  done  ;  they  should  be  rubbed 
on  either  side  with  a  piece  of  clean  flannel,  and  some  au¬ 
thorities  advise  their  being  washed  in  spirits  of  wine  mixed 
with  tripoli-powder,  which  will  remove  any  possible  grease- 
spot.  After  rinsing  and  washing  the  plate,  it  should  be 
polished  with  a  perfectly  clean  cloth,  and  be  entirely  free 
from  marks  or  scratches. 

The  next  operation  is  to  cover  this  clean  plate  with  col¬ 
lodion  which  has  been  bought  all  ready  for  use.  In  case, 
however,  it  should  run  short,  the  amateur  may  like  to  learn 
how  to  prepare  it.  It  consists  of  gun-cotton  dissolved  in 
equal  proportions  of  ether  and  alcohol,  and  must  be  kept 
carefully  corked,  as  the  ether  evaporates.  The  operator  in 
covering  the  plate  with  this  preparation  takes  it  in  the 
left  hand,  holding  it  as  level  as  possible,  and  pours  on 
to  the  center  a  pool  of  collodion  sufficient  to  cover  it,  by 
first  turning  it  toward  the  thumb,  being  careful  not  to  touch 
it,  and  then  turning  it  to  the  top  left  and  right  corners, 
pouring  it  off  at  the  lower  corner  into  the  stock-bottle. 
As  soon  as  the  preparation  sets  upon  the  plate,  it  may  be 
placed  in  the  nitrate-of-silver  bath,  being  moved  from  side 
to  side  in  the  bath  for  a  minute  or  two.  Then,  if  no  greasy 
marks  appear  upon  it,  it  may  be  taken  out  and  placed  in 
the  holder  ;  but  if  it  looks  the  least  greasy  it  should  be  left 
for  a  longer  time  in  the  nitrate  of  silver. 

All  these  preparations  having  been  made  in  the  dark 
room  or  closet,  the  plate  is  now  ready  for  exposure.  The 
camera  is  supplied  with  a  dark  slide,  and  in  this  the  plate 


126 


HOME  OCCUPATIONS. . 


is  placed,  the  coated  surface  being  downward  and  toward 
the  lens  when  in  the  camera. 

Most  amateurs  wish  to  take  portraits,  and,  in  their  efforts 
to  do  so,  they  may  be  sure  of  finding  plenty  of  amusement ; 
but  these  portraits  are  hardly  likely  to  be  successful  as  like¬ 
nesses,  and  it  would  be  better  to  begin  with  something  sta¬ 
tionary,  and  less  likely  to  disconcert  expectations  by  an 
undesirable  wink  or  smile.  The  first  step  in  any  case  is  to 
focus  the  object  decided  upon.  A  house  is  the  best,  perhaps, 
if  the  experiment  is  made  out  of  doors  ;  if  not,  a  picture  or 
any  article  of  furniture  may  answer  the  purpose.  A  few 
attempts  will  soon  show  the  proper  focus,  and  the  cap  being 
removed  from  the  camera,  the  plate  is  exposed.  The  time 
of  exposure  varies  with  the  light,  and  can  only  be  decided 
by  experiment.  It  is  well  to  try  first  with  a  six-second 
exposure,  after  pulling  the  slide  about  half  out,  then  to 
pull  out  the  other  half  after  another  six  seconds,  and  the 
condition  of  the  palate  will  soon  show  which  was  correct,  or 
most  nearly  correct. 

The  appearance  of  the  picture  on  the  plate  is  called  the 
“  negative,”  and  this  has  now  to  be  developed,  which  oper¬ 
ation  must  take  place  in  the  dark  room.  About  four  ounces 
of  the  developing  mixture  should  be  poured  into  a  cup,  and 
then  allowed  to  flow  carefully  over  the  plate.  The  image, 
if  the  impression  has  been  a  good  one,  will  appear  almost 
as  soon  as  the  solution  is  poured  on.  The  plate  must  then 
be  held  under  a  tap  of  running  water,  and  thoroughly 
cleansed  from  all  grease  ;  then  placed  in  the  alum  solution. 
It  is  then  ready  for  “fixing,”  or  washing  in  the  solution 
of  hyposulphite  of  soda,  which  must  be  poured  on  the 
plate  and  remain  there  about  twenty  minutes  until  the  sur¬ 
face  is  clear  of  the  iodide  of  silver,  which,  if  the  plate  were 
exposed  to  the  light,  would  appear  as  a  creamy  film.  The 
hyposulphite  removes  everything  from  the  plate  which  is  not 
required  to  form  the  picture  ;  and  when  the  plate  is  taken 


AMATEUR  PHOTOGRAPHY. 


127 


out  of  the  solution  it  must  again  he  thoroughly  washed,  then 
placed  in  an  upright  position  to  dry,  when  it  is  ready  for 
varnishing.  The  varnish  is  bought,  like  the  chemicals, 
ready  prepared,  and  is  poured  over  the  negative  just  in  the 
same  way  as  already  suggested  for  the  collodion.  The  ob¬ 
ject  of  the  varnish  is  to  protect  the  film  which  the  develop¬ 
ing  solution  has  spread  over  the  negative.  The  varnish 
should  be  applied  while  the  plate  is  warm,  for  which  reason 
it  should  be  held  to  the  fire  a  moment  before  the  applica¬ 
tion. 

The  varnished  negative  is  now  ready  for  printing  off, 
and  if  any  delay  occurs  before  this  is  done,  it  must  be  very 
carefully  placed  away  where  no  dust  can  possibly  settle  upon 
it.  Envelopes  are  especially  sold  for  this  purpose,  and  there 
are  also  boxes,  called  “negative-boxes,”  with  divisions  to 
accommodate  the  negatives. 

The  operation  of  printing  photographs  is  not  difficult. 
The  paper  for  the  purpose  is  bought  already  prepared,  and 
is  called  sensitive  paper,  and  this  is  first  cut  into  pieces  of 
the  size  desired.  Each  sheet  of  paper  will  supply  sixteen 
pieces  four  by  five  inches  in  size. 

The  glossy  side  of  the  paper  is  the  sensitive  side,  and 
this  should  never  be  touched  by  the  fingers  ;  it  can  be  cut 
into  as  many  divisions  as  are  needed  by  a  paper-cutter.  In 
addition  to  the  paper,  the  amateur  must  be  provided  with 
two  porcelain  trays,  one  printing-frame,  a  bottle  of  chloride 
of  gold,  a  quarter  of  a  pound  of  acetate  of  soda,  one  ounce 
of  chloride  of  lime,  and  the  hyposulphite  of  soda. 

The  prepared  paper  is  made  sensitive  to  light  by  float¬ 
ing  it  off  in  a  solution  of  nitrate  of  silver,  containing  sixty 
or  eighty  grains  to  the  ounce.  When  it  is  dried  it  is 
ready  for  the  process  of  printing,  which  is  a  very  easy  one. 
The  varnished  negative  is  placed  in  the  printing-frame  so 
that  the  film  side  is  up,  and  the  sensitive  paper  is  placed 
upon  this,  the  glossy  side  being  downward.  The  frame  is 


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provided  with  springs,  and,  on  pressure,  the  contact  of  the 
paper  with  the  negative  is  tightened. 

The  sensitive  paper  should  be  placed  in  the  frame  in  a 
subdued  light,  and,  when  well  closed  up,  the  frame  should 
be  put  upon  the  window-sill,  or  in  some  position  where  the 
light  will  fall  lightly  upon  it.  It  is  well  to  move  the  frame 
from  time  to  time,  open  it,  and  inspect  the  print  by  bend¬ 
ing  the  paper  back.  If  the  print  appears  dark,  it  must  be 
taken  out  and  laid  away  in  a  dark  place,  while  if  it  is  too 
light,  it  must  be  left  a  while  longer  in  the  frame.  It  is 
never  well  to  drop  the  negatives  into  the  frame ;  they  should 
always  be  put  in  slowly  and  gently,  and,  as  another  pre¬ 
caution,  the  print  should  always  be  examined  in  a  dim 
light. 

However  carefully  the  operator  may  have  proceeded  so 
far,  the  success  of  the  picture  will  depend  in  a  great  meas¬ 
ure  upon  the  concluding  operations  of  toning  and  fixing. 
Before  entering  upon  this  branch  of  the  art,  all  the  solu¬ 
tions  needed  should  be  in  readiness. 

The  best  toning  solution  is  made  by  dissolving  fifteen 
grains  of  chloride  of  gold  and  sodium  in  seven  and  a  half 
ounces  of  water,  then  adding  to  it  three  hundred  grains  of 
acetate  of  soda  and  seven  drops  of  a  saturated  solution  of 
chloride  of  lime.  This  preparation  should  be  made  the 
day  previous  to  using ;  it  will  keep  well,  and  it  is  always 
ready  for  use.  Clean  water  is  first  poured  into  one  of  the 
porcelain  trays,  and  the  print  to  be  toned  is  placed  into  it. 
The  light  should  be  shaded  so  that  it  is  only  just  possible 
to  operate  with  certainty.  After  the  prints  have  soaked  for 
a  while  the  water  must  be  thrown  away  and  fresh  supplied  ; 
this  should  be  done  several  times,  the  last  time  the  print 
being  left  to  soak  thoroughly,  while  the  toning  bath  is  pre¬ 
pared  by  taking  an  ounce  of  the  prepared  solution  in  the 
other  tray,  and  well  mixing  with  it  seven  ounces  of  water. 
The  print  is  then  drained  dry  and  placed  face  downward 


AMATEUR  PHO TO GRA Eli Y. 


129 


in  the  solution,  then  leisurely  turned  over  and  left  to  soak 
for  a  while.  When,  by  examination,  the  whites  appear  clear, 
the  print  has  been  sufficiently  toned,  and  the  toning  solu¬ 
tion  can  be  poured  off  and  bottled  away  for  future  use. 
After  the  prints  have  been  washed  once  more  by  letting 
clear  water  run  over  them,  there  remains  only  the  final 
process  of  fixing  by  placing  them  in  a  solution  of  four 
ounces  of  hyposulphite  of  soda,  one  ounce  of  salt,  half  an 
ounce  of  washing  soda,  and  mixed  in  thirty-two  ounces  of 
water. 

This  solution  should  also  be  prepared  a  day  before  it  is 
wanted,  and  warmed  slightly.  The  print  is  laid  into  it  and 
left  for  about  twenty  minutes,  when  it  is  taken  out,  once 
more  well  washed,  and  hung  up  to  dry.  The  washing 
should  be  very  thorough,  the  purpose  being  to  remove 
every  trace  of  the  hyposulphite  of  soda.  To  accomplish 
this  thoroughly,  Mr.  Newton,  a  very  successful  amateur 
photographer,  published  the  formula  used  by  himself.  He 
prepares  a  stock  solution  by  dissolving  two  ounces  of  acetate 
of  lead  in  sixteen  ounces  of  water,  and,  after  the  prints  have 
been  washed  in  several  waters,  he  adds  to  the  last  water- 
bath  two  ounces  of  this  preparation,  leaving  them  in  it  for 
ten  minutes,  then  removing  them,  washing  them  again  in 
clear  water,  and  hanging  them  up  to  dry,  when  the  mount¬ 
ing  only  remains  to  be  done. 

The  successful  mounting  of  a  printed  photograph  de¬ 
pends  mainly  upon  its  being  thoroughly  pressed  before  it  is 
pasted  on  to  the  card.  The  best  paste  for  the  purpose  is 
that  made  by  melting  four  ounces  of  Nelson’s  No.  1  gela¬ 
tine  with  sixteen  ounces  of  water.  The  paste  should  be 
applied  quite  evenly  to  the  back  of  the  print  with  a  bristle 
brush,  and  then  with  care  it  is  held  over  the  center  of  the 
mount  and  laid  evenly  down  ;  then  covered  with  thin  paper, 
and  pressed  very  carefully  with  the  hand  or  a  roller. 

Instantaneous  photography,  which  is  so  much  the  fash- 


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ion  now,  depends  almost  entirely  for  success  upon  the  highly 
sensitive  condition  of  the  plates.  There  is  no  other  secret 
about  it ;  hut  experience  only  can  teach  the  amateur  the 
appropriate  moment  for  experimenting  in  this  way  with 
any  hope  of  success. 

The  successful  amateur  photographer  will  always  desire 
to  introduce  tints  or  colors  into  the  picture  he  has  taken. 
After  a  few  trials,  there  is  no  question  that  an  attempt  will 
be  made  to  take  portraits,  and  when  once  this  charming 
art  is  acquired,  it  needs  but  a  little  knowledge  of  coloring 
to  perfect  it.  For  this  reason  we  subjoin  some  very  clear 
suggestions  on  the  subject,  offered  by  an  experienced  pho¬ 
tographer  for  the  guidance  of  amateurs. 

A  clear  photograph  should  be  selected,  and  carefully 
freed  from  grease  by  rubbing  it  gently  with  India-rubber, 
which  must  be  very  carefully  done,  otherwise  the  albumen 
will  be  apt  to  come  off,  thereby  rendering  the  picture  unfit 
for  the  reception  of  color. 

The  best  colors  and  sable  brushes  must  be  used,  some 
fine  ones  for  stippling,  and  thicker  ones  for  washing.  The 
colors  are  to  be  mixed  with  water,  and  with  a  small  quan¬ 
tity  of  “Robertson’s  Glass  Medium,”  which  gives  a  gloss, 
and  is  especially  prepared  for  the  albumen  surface.  A  pale 
wash  of  vermilion  must  be  applied  to  the  face  and  hands  ; 
when  that  is  dry,  the  cheeks  may  be  stippled  with  rose- 
madder,  but  the  color  must  not  be  too  deep  ;  a  pale  wash 
finely  worked  in  will  give  a  delicate,  soft  hue  which  can 
never  be  attained  with  deep  colors.  To  give  a  rounded 
appearance  to  the  face,  neutral  tint,  or  a  very  pale  wash  of 
ultramarine,  should  be  used.  For  a  very  fair  person,  a  thin 
mixture  of  chrome-yellow  and  Chinese  white  stippled  light¬ 
ly  on  the  forehead  produces  a  good  effect.  Lips  should  be 
colored  with  vermilion,  but  not  too  deep.  For  flaxen  hair, 
a  wash  of  chrome-yellow  will  be  sufficient;  if  golden  or  very 
light  brown,  a  pale  wash  of  burnt  sienna  ;  if  darker  brown. 


AMATEUR  PHOTOGRAPHY. 


131 


sepia ;  and  the  shadow  can  be  put  on  in  indigo.  These 
colors  nicely  blended  will  be  found  sufficient  for  the  ordi¬ 
nary  portrait-photograph,  but  if  the  picture  is  intended  to 
wear  in  a  locket  or  book,  more  attention  must  be  given  to 
detail. 

The  coloring  of  furniture  and  of  drapery  is  done  alto¬ 
gether  by  washes,  and  must  vary  according  to  individual 
taste.  Yandyke-brown,  burnt  umber,  or  sepia,  are  good  to 
represent  mahogany.  It  is  often  necessary  to  stipple  some 
of  the  drapery  after  washing  it  over. 

Some  colors  are  difficult  to  manage  :  ultramarine,  for 
example,  for  a  blue  dress  or  sash,  and  mauve,  which  is 
composed  of  lake  and  ultramarine — these  require  careful 
working  up  ;  but  a  wash  is  sufficient  when  only  black, 
brown,  or  green  are  necessary.  The  shades  of  a  dress  are 
managed  by  going  over  two  or  three  times  with  the  same 
tint,  never  taking  much  color  upon  the  brush  at  a  time. 

Of  course,  those  who  know  something  of  painting  in 
water-colors  will  be  more  successful  in  coloring  photographs 
than  those  whose  attempt  at  the  art  is  thus  made  for  the 
first  time  ;  but,  in  reality,  there  is  no  necessity  that  the 
operator  should  have  any  previous  knowledge  of  painting. 
Any  one  can  learn  how  to  handle  the  brush  or  pencil,  and 
the  colors  are  all  classified  in  the  ordinary  paint-box  ;  and 
there  is  no  more  pleasant  occupation  in  the  world  than  that 
of  coloring  photographs.  A  very  few  failures  will  lead  to 
success. 

There  is  a  very  simple  method  of  making  impressions 
on  paper  in  blue,  known  as  the  blue  process,  in  which  all 
the  difficulties  of  toning  and  fixing  the  print  are  obviated. 
It  is  adapted  for  reproducing  mottoes,  drawings,  manu¬ 
scripts,  etc.,  and,  when  the  negative  is  varnished,  the  pro¬ 
cess  is  very  simple.  The  negative  is  placed  in  the  print¬ 
ing-frame,  film  side  up,  and  a  piece  of  what  is  called 
“  ferro-prussiate  ”  paper,  which  can  be  bought  at  the 


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artists’-inaterial  stores,  is  placed  upon  it,  colored  side  down. 
When  firmly  fastened  into  the  frame,  it  is  carried  to  the 
window,  and  the  front  side  of  the  frame  is  turned  out  to 
receive  the  light  upon  it  for  three  or  four  minutes.  When, 
upon  examination,  the  image  is  distinctly  seen  on  the 
paper,  the  print  is  placed  in  a  pan  of  clean  water  for  half 
an  hour,  when  the  whites  will  stand  out  clearly  and  the 
blue  print  will  be  permanent. 


XIV. 


MISCELLANEOUS  OCCUPATIONS. 

The  busiest  people  in  tlie  world  have  some  leisure  mo¬ 
ments,  and  it  very  often  seems  as  if  the  more  occupied  a 
person  is  in  home  life,  the  more  can  be  accomplished  in  the 
spare  moments.  The  reason  probably  is  that  to  a  busy 
person  every  moment  is  precious,  idleness  is  impossible,  and 
so  it  comes  to  pass  that  more  is  done  at  odds  and  ends  of 
time  than  would  be  accomplished  in  the  days  or  weeks  of 
an  idle,  unoccupied  life.  Up  to  this  we  have  dwelt  rather 
upon  occupations  for  leisure  hours,  to  be  carried  out  with  a 
certain  amount  of  method,  and  we  now  propose  to  call  to 
mind  the  many  valuable  and  pretty  things  which  can  be 
made  in  odd  moments  of  time,  requiring  no  special  prepa¬ 
ration,  and  entailing  no  particular  expense  or  laying  out  of 
plans. 

Take,  for  example,  the  many  wonderfully  pretty  things 
that  can  be  made  in  plush  or  in  silk  and  satin,  in  patch- 
work,  or  even  in  odds  and  ends  of  ribbons  and  lace.  The 
old-fashioned  patchwork,  for  instance,  which  was  often  a 
marvel  of  effective  combinations,  and  which  served  to  fill 
up  many  a  leisure  hour  in  the  lives  of  our  energetic  grand¬ 
mothers,  has  undergone  a  change,  it  is  true,  but  exists  in 
our  midst  with  surprising  vigor.  The  fashion  nowadays  is 
to  cut  out  squares  of  equal  sizes  in  thin  muslin,  or  indeed 
in  any  used  or  worn  material  which  will  serve  for  a  founda¬ 
tion,  and  upon  each  of  these  squares  scraps  of  silk,  satin, 


134 


110 ME  OCCUPATIONS. 


ribbon,  or  plush  are  carefully  arranged,  without  any  regard 
to  a  set  pattern,  and  are  joined  together  with  fancy  stitch 
— as  feather  stitch,  open-work  stitch,  or  simple  outline  stitch 
— in  different  colored  silks.  This  style  of  patchwork  af¬ 
fords  ample  scope  for  individual  taste.  Of  course,  no  two 
of  the  squares  show  the  same  arrangement,  and  a  sort  of 
bewildering  Eastern  effect  is  produced  by  the  mosaic  ap¬ 
pearance  of  the  square  when  completed,  which  is,  of  course, 
increased  when  the  several  squares  in  their  turn  are  joined 
together.  One  great  charm  of  this  work  is  that  it  can  be 
taken  up  at  any  moment,  and  the  variety  of  stitches  intro¬ 
duced  need  be  limited  only  by  the  skill  of  the  worker.  The 
tiniest  odds  and  ends  of  ribbon  can  be  worked  in,  and  any 
little  space  which  may  fail  to  be  covered  can  be  worked  in 
raised  stitch  or  French  knot,  or  button-holed  in  outlined 
design.  The  amount  of  work  in  such  patchwork  depends 
upon  taste  and  the  use  for  which  it  is  intended.  For  ex¬ 
ample,  if  such  an  undertaking  is  intended  for  a  bed-quilt, 
it  will  admit  of  larger  scraps  being  used  ;  while  for  a  pin¬ 
cushion  cover,  or  to  lay  on  a  tray  or  upon  a  table,  tiny 
scraps  and  small  odds  and  ends  would  look  charming. 

A  quilt  for  a  baby’s  bed  made  in  this  style  of  patch- 
work  would  be  lovely  if  subdued  colors  were  selected,  and 
each  little  patch  worked  over  with  a  star  in  gold  twist,  or 
if  gold-colored  filoselle  were  used  for  all  the  joinings.  Com¬ 
binations  for  such  a  purpose  will  naturally  suggest  them¬ 
selves  to  individual  workers.  Patch-work  rugs  are  more 
formidable  undertakings,  being  made  of  odds  and  ends  of 
cloth  very  firmly  stitched  together,  and,  when  finished, 
pressed  at  every  seam  with  a  heavy  iron,  lined  with  some 
strong  material,  and  finished  off  with  a  worsted  or  ball 
fringe. 

It  is  now  possible  to  buy  “carpet”  materials,  so  that 
ladies  who  are  unable  to  afford  the  expense  of  the  fashion¬ 
able  Eastern  rugs  can  manufacture  them  at  home,  and 


M1SCELLANE0  US  0  COUP  A  TIOES. 


135 


very  pretty  they  are.  The  modern  taste  for  plushes  has 
opened  up  a  very  large  field  for  the  construction  of  pretty 
things.  The  material  itself  is  so  handsome,  and  it  is  so 
firm,  yet  yields  so  readily  to  the  needle,  that  endless  possi¬ 
bilities  for  its  use  suggest  themselves.  Old  photograph- 
frames  covered  with  it  look  like  new,  and  nothing  more 
effectually  throws  a  picture  into  relief.  To  renovate  an  old 
frame  in  this  way  it  is  only  necessary  to  cut  the  plush  large 
enough  to  cover  the  entire  frame,  allowing  sufficient  ma¬ 
terial  to  fold  over  end  and  sides,  then  laying  it  face  down¬ 
ward  upon  a  perfectly  flat  board.  The  back  should  be 
covered  with  thin,  home-made  paste,  composed  either  of 
flour  and  water,  or  of  mucilage  made  of  gelatine  and  water; 
and,  when  a  thin  coating  has  been  brushed  well  over  it,  it 
can  be  stretched  loosely  over  the  frame,  and  left  to  dry. 
The  space  for  the  glass  should  be  cut  out  after  the  plush  is 
firmly  gummed  on,  and  there  will  be  sufficient  to  fold  over 
all  round  the  opening.  Various  effects  can  be  given  to  a 
frame  of  this  kind  by  putting  in  little  brass  nails  at  inter¬ 
vals,  or  small  beads,  or  indeed  anything  of  the  kind  that 
fancy  may  suggest.  Painting  on  plush  is  not  at  all  difficult. 
Any  one  who  has  oil-colors,  and  a  stiff  bristle  brush  to  stamp 
the  colors  well  in,  can  succeed  with  little  effort.  Small  plush 
panels  to  stand  on  the  mantelpiece  are  very  easily  made  by 
covering  thin  wood  with  the  material,  and  just  painting  a 
single  spray  of  apple  or  orange  blossom,  or  a  bird  on  the 
wing,  or,  as  we  have  seen,  a  flight  of  many-colored  butter¬ 
flies. 

Many  avenues  of  occupation  are,  of  course,  open  to  those 
who  can  handle  the  brush,  and  the  uses  for  plush  in  com¬ 
bination  with  colors  are  legion.  Screens  for  the  mantel¬ 
shelf,  coverings  for  little  shelves,  lambrequins  of  all  kinds, 
can  be  made  of  plush,  and  either  decorated  with  designs  in 
oil-colors  or  simply  trimmed  with  heavy  fringe.  Pincush¬ 
ions  of  plush  are  very  handsome ;  so  are  glove-boxes,  trays, 


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and  brackets.  The  material  has  so  much  body  that  a  card¬ 
board  box  covered  with  it  is  as  substantial  as  many  a  wood¬ 
en  one.  For  banners,  a  very  good  effect  is  produced  by 
having  a  strip  of  plush  between  two  strips  of  silk,  varying 
the  tones  of  each,  then  scalloping  in  three  large  scallops, 
and  finishing  off  with  fringe.  Bracket  lambrequins,  too, 
are  extremely  pretty  if  trimmed  with  plush,  the  lambrequin 
itself  being  either  of  cloth  or  silk. 

Quite  recently  we  have  seen  a  very  pretty  effect  pro¬ 
duced,  with  little  trouble  or  expenditure,  by  one  of  those  busy 
people  who  find  time  for  everything,  and  who,  although 
engaged  in  office-work  from  nine  till  five,  have  an  occupa¬ 
tion  on  hand  for  every  spare  minute.  The  latest  result 
achieved  by  this  lady  has  been  that  of  purchasing  a  little 
image  in  bas-relief,  gilding  it,  and  mounting  it  upon  dark- 
blue  plush.  These  bas-reliefs  in  plaster  of  Paris  are  very 
cheap,  and,  even  in  their  natural  condition,  make  pretty 
ornaments,  while,  when  gilded  over,  they  stand  out  from  a 
background  of  deep-toned  plush  or  satin  in  a  most  effective 
manner.  Blue  velvet-paper  also  serves  as  an  efficient  back¬ 
ground  for  such  an  ornament. 

Palm-leaf  fans  afford  a  good  deal  of  pleasant  occupation; 
they  take  water-colors  well,  and  so  can  be  painted  ;  and  for 
those  who  are  not  efficient  in  the  use  of  the  brush,  they 
afford  an  opportunity  for  embroidery  in  open  stitch  round 
the  edges. 

Making  transparencies  is  a  fascinating  occupation,  re¬ 
quiring  a  little  taste  and  artistic  skill,  but  quite  within 
reach  of  the  home-worker.  If  they  are  intended  for  a  win¬ 
dow,  the  material  for  making  them  can  be  bought  at  an  art 
store  under  the  name  of  “architects’ paper,”  but  muslin 
of  thin  make  will  answer  the  purpose  if  painted  over  with 
liquid  wax  and  left  to  dry.  To  paint  it,  it  is  advisable  to 
stretch  it  on  a  frame  in  the  same  way  as  a  piece  of  em¬ 
broidery,  and  in  that  position  to  trace  out  upon  it  any  de- 


MISCELLANEOUS  OCCUPATIONS. 


137 


sign  which  may  have  been  selected.  The  best  way  to  ob¬ 
tain  the  design  is  to  prick  it  out  after  laying  it  face  down¬ 
ward  on  the  material,  then  dust  it  with  colored  powder  tied 
up  in  a  thin  bag,  and  then  go  over  it  lightly  with  a  pencil. 
For  coloring  such  shades,  transparent  colors  only  should  be 
used  ;  for  the  reds,  shades  of  carmine  and  crimson-lake  ;  for 
the  yellows,  Italian-yellow  and  gamboge ;  for  the  greens, 
verdigris  ;  for  blues,  Prussian-blue,  cobalt,  ultramarine,  and 
indigo  ;  for  browns,  raw  and  burnt  sienna,  etc.  Gold-size 
is  an  admirable  vehicle  for  mixing  the  paints  ;  it  does  not 
stick,  and  its  light  tone  of  amber  does  not  affect  the  purity 
or  beauty  of  the  colors.  It  is  well  to  mix  the  colors  first 
with  turpentine,  and  then  add  the  size. 

If  much  difficulty  is  experienced  in  drawing  the  design, 
it  answers  well  to  select  a  good  engraving,  and,  after  varnish¬ 
ing  the  transparency,  while  it  is  still  wet,  apply  the  engrav¬ 
ing,  which  should  be  thoroughly  dampened,  to  the  surface, 
pressing  every  part  of  it  on  to  the  muslin.  While  it  is 
wet,  the  paper  is  carefully  removed  by  rubbing  and  rolling 
it  off,  as  it  were,  until  only  the  cuticle  of  the  engraving 
remains.  The  transparent  colors  will  work  on  to  the  en¬ 
graving  well,  the  shadows  of  the  picture  answering  for  the 
deeper  tones  of  the  colored  shade. 

Some  home-workers  find  it  extremely  difficult  to  trans¬ 
fer  designs,  and  waste  a  good  deal  of  time  in  unsuccessful 
attempts,  for  which  reason  we  suggest  as  a  very  useful  oc¬ 
cupation,  and  one  which  becomes  extremely  interesting,  a 
consideration  of  the  best  method  of  accomplishing  this  very 
necessary  detail  of  all  ornamental  needle- work.  The  first 
thing  to  be  done  is  to  take  a  tracing  of  the  design  selected. 
Paper  for  the  purpose  can  be  bought  at  any  art  store,  and 
will  be  found  tolerably  stiff  and  yet  perfectly  transparent. 
This  is  placed  over  the  design  and  secured  with  pins  at  each 
corner,  and  the  lines  of  the  design  are  drawn  over  either 
with  a  pencil  or  pen  and  ink,  the  latter  being  decidedly  the 


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best.  The  glossiest  side  of  the  paper  is  the  one  on  which  the 
tracing  should  be  made.  Black  transferring-paper  is  next 
needed.  This  can  be  home-made  by  simply  scraping  black 
Trench  chalk  over  one  side  of  any  thin  white  paper  that  may 
be  at  hand,  and  rubbing  it  in  with  a  ball  of  cotton-wool 
until  it  will  not  come  off  without  a  good  deal  of  trouble. 

The  tracing-paper  on  which  the  design  has  been  out¬ 
lined  is  now  laid  upon  the  material  over  the  exact  spot,  and 
temporarily  secured  in  position  by  pins.  The  set-ofE  paper, 
as  that  rubbed  with  charcoal  is  called,  must  then  be  passed 
under  the  tracing-paper,  the  black  side  downward.  Pins 
are  again  needed  to  keep  both  perfectly  flat.  Then,  with 
a  blunt-pointed  instrument,  such  as  a  crochet-needle  or 
ivory  tracing-point,  made  for  the  express  purpose,  every 
line  of  the  design  must  be  gone  over,  the  instrument  being 
pressed  just  enough  to  cause  the  lines  to  appear  on  the  sur¬ 
face  of  the  material  on  which  the  work  is  to  be  executed, 
and  it  is  very  necessary  in  going  over  the  lines  of  the  trac¬ 
ing  to  hold  the  tracing-point  as  upright  as  possible,  so  that 
the  lines  transferred  may  be  fine  and  uniform. 

If  the  material  to  be  worked  is  of  very  yielding  quality, 
such  as  velvet,  plush,  or  cloth,  there  is  a  better  method, 
known  as  “stenciling,”  which  is  very  easily  learned.  The 
paper  which  is  to  form  the  stencil  pattern  should  be  of 
good,  stout,  smooth  writing-paper,  not  too  thick,  but  by 
no  means  too  thin.  This  paper  must  be  painted  over  with 
copal  varnish,  obtained  at  the  store  for  artists’  materials, 
and  the  brush  with  which  it  is  done  should  be  a  flat  one 
of  hogs’  hair,  about  an  inch  in  width,  which  should  be 
thoroughly  filled  with  the  varnish  and  held  perfectly 
upright,  great  care  being  taken  to  spread  the  varnish 
equally  over  the  surface  of  the  paper  by  working  the  brush 
in  cross  directions.  The  paper  must  be  left  on  the  board 
to  dry  thoroughly,  and,  at  the  expiration  of  three  or  four 
days,  if  the  materials  used  have  been  good,  it  will  present 


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139 


a  glossy  appearance  and  be  nearly  transparent.  It  is  now 
genuine  stencil-paper,  and  can  be  used  in  the  same  way  as 
tracing-paper  for  tracing  the  lines  of  the  design  in  pen 
and  ink ;  and  when  these  lines  are  perfectly  dry  they  are 
pricked  through  by  the  use  of  a  fine  stiletto.  To  have  the 
holes  free  from  projections  on  the  reverse  side,  it  is  well 
to  lay  the  paper  upon  a  blotting-pad  during  the  operation 
of  piercing,  and  it  is  better  not  to  pierce  the  holes  too  close 
together.  The  stencil-paper  is  placed  over  the  material 
exactly  as  the  “set-off”  paper  was,  and  brushed  over  with 
Chinese  white  paint,  bought  in  bottles,  the  brush  used  be¬ 
ing  what  is  called  a  velvet-painting  brush.  The  paint  is 
rubbed  on  a  palette  and  allowed  to  dry,  and  the  brush, 
squeezed  as  dry  as  possible,  is  rubbed  into  the  color,  and 
then  worked,  being  held  perfectly  upright  over  the  stencil, 
care  being  taken  that  every  part  of  the  design  is  gone  over. 
The  brush  should  be  only  lightly  pressed,  sufficiently  to 
make  the  points  of  the  hairs  pass  through  the  holes  in 
the  design,  but  not  to  bend  under  the  stencil,  as  in  that 
case  the  pattern  would  be  blotted. 

Stenciling  is  an  art  which  can  be  used  in  many  ways. 
In  early  days  it  supplied  the  place  of  papering  for  walls,  and 
journeymen  called  at  houses  in  the  country  with  their  sten¬ 
cil  designs  and  paint-pots,  and  speedily  covered  the  bare 
walls  with  designs  ;  and  while  we  are  scarcely  prepared  to 
advocate  stenciling  upon  this  scale  as  a  home  occupation,  we 
have  said  enough  to  show  how  easily  a  knowledge  of  it  can 
be  acquired,  and  how  satisfactorily  individual  taste  may 
supply  opportunity  for  its  use. 

In  the  very  matter  of  fans,  stenciling  would  produce 
pretty  effects  if  water-colors  were  used  instead  of  dry  paint  ; 
and  designs  of  all  kinds  could  be  colored  in  this  way  upon 
linens  or  muslins. 

Brass  stencilings  are  also  easily  made,  and  are,  of  course, 
more  durable.  The  material  for  the  purpose  is  sold  at  the 


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artists’-material  stores,  and  is  easily  penetrated  by  a  stiletto  ; 
but  the  back  requires  filing  to  get  rid  of  the  roughness 
round  the  holes. 

Card-board  stencils  form  a  very  good  foundation  for  shell 
ornamentations,  and  that  reminds  us  what  great  possibilities 
there  are  in  the  use  of  shells  to  while  away  leisure  hours. 

Many  people  collect  them  in  their  summer  excursions, 
and  after  a  while  they  accumulate,  and  it  becomes  a  ques¬ 
tion  what  use  to  make  of  them  ;  but  they  can  be  turned  to 
very  good  account  in  the  way  of  decoration.  If  they  are 
to  be  used  for  this  purpose,  it  is,  first  of  all,  necessary  to 
cleanse  them  thoroughly.  In  the  case  of  the  larger  varie¬ 
ties,  this  can  be  done  effectually  by  soaking  them  for  twelve 
hours  in  fresh  water,  while  for  the  small  or  more  delicate 
kinds  it  is  well  to  use  a  soft  brush,  which  will  reach  all 
the  interstices  and  yet  not  injure  the  beautiful  markings  of 
the  epidermis. 

The  easiest  way  to  make  use  of  shells  is  by  sticking 
them  on  to  any  article  which  it  is  deemed  desirable  to  deco¬ 
rate,  while  the  most  difficult  and  delicate  use  for  them  lies 
in  making  shell-flowers,  when,  so  long  as  the  natural  color 
of  the  shell  is  retained,  very  beautiful  results  can  be  pro¬ 
duced,  but  which  become  vulgarized  to  the  highest  degree 
when  any  attempt  is  made  to  copy  the  coloring  of  natural 
flowers.  Manuals  have  been  written  upon  this  branch  of 
the  art ;  but  we  propose  to  pass  it  over  lightly,  and  dwell 
more  particularly  upon  the  simple  use  of  shells  in  their 
original  tones  of  color. 

For  ornamenting  brackets,  boxes,  pincushions,  or  bas¬ 
kets,  it  is  only  necessary  to  select  the  shells  and  have  ready 
a  strong  cement  into  which  they  can  be  set.  This  cement 
is  best  made  by  mixing  gelatine  and  plaster  of  P<aris  with 
white  lead,  making  a  paste  thick  enough  to  support  the 
shells,  but  not  sufficiently  heavy  to  seem  clumsy  or  lumpy. 
The  shells  can  be  so  arranged  as  to  show  sometimes  the 


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141 


whole  of  the  upper  surface,  and  sometimes  only  a  portion 
of  it.  The  cement  may  be  colored  as  desired  by  adding 
dry  color,  blue,  red,  or  yellow,  when  mixing.  The  foun¬ 
dation  for  shell-work  need  not  be  very  strong,  the  cement 
itself  being  as  durable  as  the  hardest  earthenware.  A 
strong  bracket  could  be  easily  made  of  stout  card-board 
or  pasteboard,  well  coated  with  cement,  the  shells  being 
sunk  into  it  while  it  is  wet.  Some  people  varnish  the 
shells  over  with  dammar  varnish,  but  this  gives  them  some¬ 
thing  of  a  vulgar  look. 

Handkerchief -boxes,  baskets  of  all  kinds,  shelves,  pedes¬ 
tals,  work-boxes,  writing-cases — in  fact,  almost  any  article 
can  be  decorated  with  shells  in  the  simple  way  suggested. 
Shells  of  all  kinds  are  to  be  bought  for  very  low  prices,  the 
smaller  ones — rice,  pearl,  snail  shells,  etc. — by  the  ounce, 
and  these  are  very  useful  for  tilling  up  the  chinks  and  crev¬ 
ices. 

Making  shell-flowers  is,  of  course,  a  more  difficult  occu¬ 
pation,  and  small,  smooth,  polished  shells  should  be  selected 
for  the  purpose.  The  best  way  to  proceed  is  exactly  as  in 
forming  paper  or  wax  flowers — by  making  a  center  on  which 
to  arrange  the  stamens.  This  should  be  of  the  cement  for 
which  we  have  given  a  recipe,  and,  to  make  it  more  adhesive, 
a  little  gum  tragacanth  can  be  added.  In  making  a  rose, 
for  example,  the  foundation-ball  should  be  about  the  size  of 
a  hickory-nut,  rounded  a  little  toward  the  apex,  upon 
which  three  small  shells  should  be  pressed.  Around  them 
a  row  of  four  more  is  placed,  then  one  of  six,  then  of  eight, 
and  so  on  until  the  outer  edge  is  reached,  and  for  this  the 
large,  light  shells  are  taken,  some  turned  convex-side  in¬ 
ward.  These  outer  shells  should  be  half  an  inch  long.  The 
calyx  is  made  of  thin,  pointed  shells,  arranged  round  a  seed- 
pod  molded  in  cement,  or  an  artificial  calyx  may  be  bought. 
To  make  a  rose-bud  it  is  only  necessary  to  mold  the  cement 
into  an  oblong  ball,  and  press  around  it  three  small  shells, 


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placing  over  them  others  of  oval  shape.  We  have  already 
stated  our  objection  to  the  artificial  coloring  of  shells,  but,  as 
every  one  may  not  hold  the  same  opinion,  a  few  words  upon 
the  process  may  not  be  objectionable.  For  those,  then,  who 
wish  to  make  shell  flowers,  in  imitation  not  only  of  form 
but  of  tints,  the  approved,  method  is  to  dip  each  shell  sepa¬ 
rately  into  liquid  color,  made  by  rubbing  the  colored  pow¬ 
ders  into  gum-water,  the  smaller  shells  being  always  more 
darkly  tinted  than  the  larger  ones.  For  cutting  large  shells 
to  the  desired  shape  and  size,  a  small  Sorrento  saw  is  nec¬ 
essary,  while  to  varnish  them  when  colored,  dammar  varnish 
is  used.  Gilding  can  be  applied  exactly  as  suggested  for 
frame-work.  The  directions  given  for  wax  and  leather 
flowers  will  be  suitable  for  those  formed  in  shell,  making 
due  allowance  for  difference  of  material,  and  for  the  fact 
that  it  is  impossible  to  use  molding-forms  for  shells,  and 
that  ingenuity  in  making  them  consists  rather  in  the  selec¬ 
tion  of  fitting  shapes  and  sizes,  and  in  the  cutting  and 
trimming  larger  ones  to  serve  the  more  delicate  purposes  of 
smaller  ones.  Venetian  shells,  which  can  be  bought  at 
fancy  stores,  with  little  holes  already  drilled  in  them,  are 
useful  for  trimmings,  making  pretty  necklaces  and  armlets 
for  children,  and  in  card-board  work  are  efficient  as  decora¬ 
tion.  Large  shells,  such  as  clam-  or  mussel-shells,  make 
admirable  pincushions  ;  and  as  these  shells  are  occasionally 
objectionable  from  the  strong  smell  that  clings  to  them, 
they  can  be  purified  by  washing  the  insides  with  a  weak  so¬ 
lution  of  chloride  of  lime.  To  form  a  pincushion,  a  bag  is 
first  made  the  shape  and  size  desired,  and  stuffed  with  bran, 
cotton-wool,  or  emery-powder,  and  then  tightly  covered 
with  silk,  satin,  velvet,  or  plush  ;  the  shells,  which  must  be 
of  equal  size,  are  then  covered  with  strong  gum  on  the  in¬ 
sides,  or  glue  may  even  be  necessary,  and  held  tightly 
pressed  against  either  side  of  the  cushions.  Painting  on 
shells  is  a  popular  occupation,  and  can  be  employed  on  the 


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143 


inside  or  outside,  as  desired.  Clam-shells  are  particularly 
well  adapted  for  little  scenic  views,  painted  in  water-colors, 
and,  if  they  are  well  done,  there  is  no  prettier  decoration 
for  a  shelf  or  bracket  than  that  of  shells  handsomely 
painted  by  hand  and  varnished  over. 

The  many  branches  of  painting  do  not  come  exactly 
within  the  scope  of  our  intention,  for,  usually  speaking, 
they  are  pursued  either  methodically  as  arts,  or  taken  up 
for  amusement ;  but  there  is  one  branch  of  painting  which 
forms  a  very  suitable  and  very  favorite  occupation  for  leis¬ 
ure  moments,  and  that  is  the  art  of  illuminating.  Designs, 
texts,  and  proverbs  are  all  to  be  bought  ready  for  coloring, 
and  very  little  study  or  knowledge  are  required  for  complet¬ 
ing  them.  Any  one  can  color  an  illumination,  however  un¬ 
skillful  he  may  be  in  designing  one.  The  designs  for 
illumination  which  are  sold  in  stationers’  stores  are  usually 
on  Bristol-board,  and  vary,  of  course,  in  style  and  size.  We 
will  suppose  that  such  a  design  has  been  purchased  all  ready 
for  coloring,  as  the  art  of  originating,  or  even  copying,  a 
complicated  design  would  necessitate  more  than  a  slight 
knowledge  of  art,  and  would  hardly  be  attempted  as  a  mere 
occupation.  Some  knowledge  of  the  best  colors  for  selec¬ 
tion  will  be  valuable  to  all  who  undertake  illumination,  and 
we  therefore  subjoin  the  practical  suggestions  made  by  an 
expert  on  the  subject.  The  most  useful  colors  are  blues 
(cobalt,  French,  and  indigo),  Indian-yellow,  yellow  ochre 
and  lemon-yellow,  rose-madder,  carmine,  vermilion  and 
light  red,  emerald-green,  silica-green  ;  for  black,  use  Indian 
ink,  lamp-black,  or  ivory-black.  To  make  good  greens, 
mix  cobalt  and  yellow  ochre,  indigo  and  Indian-yellow  ;  for 
grays,  Indian-red,  yellow  ochre,  and  French  blue  mix  well ; 
while  for  very  delicate  pearly  gray,  rose-madder,  emerald- 
green,  and  cobalt-blue  should  be  mixed.  Crimson  lake  will 
answer  instead  of  carmine,  but  will  not  be  quite  so  brilliant. 
For  lilac,  cobalt  and  rose-madder  mix  together  well.  It  is 


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well  to  avoid  using  colors  that  fade  rapidly,  such  as  gam¬ 
boge,  Prussian-blue,  chrome  yellows  of  all  kinds,  orange-lead 
or  orange-yermilion.  To  glaze  and  giye  depth  to  colors,  use, 
if  it  can  be  procured,  Reeves’s  wax  water  magilp,  and,  if 
it  can  not,  any  glazing  medium  recommended  at  the  artists’- 
material  stores.  It  should  be  either  mixed  with  the  colors 
and  used  in  painting,  or  applied  afterward  as  a  glaze.  For 
gilding,  shell  gold  is  excellent,  or  the  liquid  gilding  sold 
ready  prepared  will  be  found  a  good  substitute.  Many  peo¬ 
ple  use  gold-leaf,  but  it  is  very  difficult  to  lay  it  on.  To 
imitate  silver,  aluminum  is  sold  in  small  cakes,  and  is  excel¬ 
lent  for  grounding  or  for  intricate  outlining  and  scroll¬ 
work. 

Very  little  difficulty  will  be  found  in  the  mechanical 
mixing  and  laying  on  of  colors,  and  every  one  knows  how 
much  illuminations  brighten  up  a  bedroom  or  a  nursery 
wall.  For  those  who  are  ambitious  of  producing  good  effects 
with  even  less  effort,  and  who  undertake  the  decoration  of 
school-rooms  or  churches  in  country  villages,  there  is  a  very 
easy  and  economical  way,  which  will  commend  itself  at  once 
to  our  readers.  Letter-forms  can  be  bought  at  church  fui- 
nishers  in  all  styles — the  Roman,  the  Norman,  the  Gothic, 
or  whatever  may  be  wished — and  copies  of  these  letters  can 
be  cut  out  in  ordinary  glazed  paper,  in  different  colors,  to 
form  words  and  sentences,  and  then  pasted  perfectly  even 
at  regulated  distances  upon  well-stretched  linen.  If  shaded 
paper  is  used  for  this  purpose,  the  effect  of  relief  is  pro¬ 
duced,  and  this  method  of  decoration  will  be  found  admi¬ 
rably  adapted  to  high  positions,  as  from  a  distance  it  is  im¬ 
possible  to  tell  that  the  letters  are  not  painted.  An  equally 
effective  method  is  that  of  outlining  the  forms  of  the  letters 
in  pencil  upon  the  linen,  and  then,  with  ordinary  house- 
painter’s  colors  and  a  thick  brush,  giving  them  the  neces¬ 
sary  coloring,  only  observing  a  little  care  in  keeping  the 
edges  even.  Stenciling  can  be  admirably  used  in  this  way. 


miscellaneous  occupations. 


145 


All  sorts  of  fascinating  work  of  this  kind  can  be  taken 
np  as  occupation  on  wet  days  ;  and,  without  going  into  the 
question  of  floral  decoration,  we  may  remind  our  readers  how 
much  can  be  done  with  evergreens  and  moss,  and  of  the 
many  possibilities  that  flags  and  banners  afford  for  easy 
and  effective  work. 

To  discuss  the  question  of  fancy  needle-work  thoroughly 
would  require  a  volume  ;  but,  in  spite  of  the  interest  felt  in 
painting  of  all  kinds,  in  spite  of  the  beguiling  delight  of 
ceramics  and  faience,  tile-painting  and  painting  on  glass, 
the  votaries  of  fancy  work  are  almost  as  numerous  as 
ever.  In  addition  to  the  decorative  needle-work  of  the 
day,  crochet,  tatting,  knitting,  and  netting,  all  find  a  place. 
Lace-making  has  many  enthusiastic  votaries,  and  marvels 
are  achieved  in  it,  whether  in  tine  pillow-lace,  which  is 
enough  to  ruin  the  strongest  eyesight  in  the  world,  or  in 
the  coarse  Macrame  lace,  or  “fringed  work,”  as  its  Arabic 
name  signifies,  which  deserves  more  than  passing  attention 
at  our  hands.  An  ordinary  deal-topped  round  table,  covered 
with  cloth  and  finished  off  with  a  handsome  fringe  of  Ma¬ 
crame  lace,  is  at  once  an  effective  piece  of  furniture,  and, 
although  there  may  be  some  objection  to  the  handling  of 
the  coarse,  strong  linen  of  which  Macrame  lace  is  made, 
with  care  it  need  never  injure  the  most  delicate  hands. 
The  linen  thread  which  is  used  for  it  is  bought  for  one 
dollar  a  pound,  and  is  known  as  Barbour’s  flax.  It  can  how 
be  procured  at  almost  any  fancy  store.  Tables  upon  which 
to  make  the  lace  can  also  be  bought  for  three  dollars  each, 
but  these  are  quite  easily  made  at  home  ;  a  plain  piece  of 
board,  with  a  row  of  nails  at  the  top  and  sides,  is  all  that  is 
necessary.  Large  pins  for  interweaving  the  threads  can 
be  bought  for  a  mere  trifle.  There  are  few  more  effective 
lambrequins  for  mantels  or  brackets  than  a  broad  Macrame 
lace  with  heavy  fringe,  and  it  is  very  useful  in  making  bags, 
reticules,  etc.  Coarse  crochet,  done  in  twisted  cord  of 


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deep  coffee-color,  is  a  still  easier  style  of  work,  and  the 
twisted  cord  can  also  be  bought  at  fancy  stores,  with  direc¬ 
tions  for  making  various  patterns.  Crochet  in  thick  wools 
is  always  useful,  and  those  who  are  handy  with  crochet- 
needles  are  never  at  a  loss  for  an  occupation.  Pincushion- 
covers  in  crochet  or  tatting  are  always  pretty,  and  the 
English  pincushion,  as  it  is  called,  amply  repays  the  lit¬ 
tle  trouble  it  involves.  A  round  pincushion  is  made  and 
stuffed,  a  hollow  being  left  in  the  center  large  enough  to 
hold  a  small  tumbler,  a  firm  piece  of  card-board  being 
placed  at  the  bottom.  A  covering  of  fine  crochet  or  tat¬ 
ting,  with  a  deep  fringe,  serves  for  decoration,  and  the  little 
tumbler  is  kept  filled  with  flowers,  which  bid  a  smiling  wel¬ 
come  to  the  tenant  of  the  bed-chamber. 

Excellent  pincushions,  too,  are  made  out  of  old  cigar- 
boxes,  the  inside  being  lined  wi^h  fancy  paper  or  pink 
cambric,  and  a  frill  of  the  cambric  being  put  on  very  full 
all  round  the  outside.  The  lid  must  also  be  lined,  and  the 
outside  covered  with  a  well-stuffed  pincushion,  while  the 
crochet  or  lace  cover,  made  to  fit  it,  makes  it  a  pretty  as 
well  as  a  most  useful  article  for  the  toilet. 

Ladies  who  are  fortunate  enough  to  possess  sewing- 
machines  (and  who  nowadays  is  not  ?)  can  find  a  pleasant 
occupation  in  quilting.  Quilted  satin  bags  or  reticules, 
handkerchief-cases,  stands  for  rings  or  brooches,  are  always 
acceptable  as  gifts.  And  we  are  reminded  how  much  occu¬ 
pation  some  persons  find  in  the  making  of  inexpensive  gifts, 
valuable  only  for  the  care  and  time  bestowed  upon  them. 
Common  bed-ticking  forms  an  admirable  foundation  for 
many  such  useful  articles,  and  fancy  stitches  worked  upon 
it  in  filoselle  or  crewel  look  remarkably  well.  It  is  per¬ 
fectly  wonderful  to  see  what  really  handsome  things  clever 
fingers  will  make  out  of  the  most  ordinary  material.  Take, 
for  example,  straw.  Straw  frames  we  have  already  alluded 
to,  but  we  have  recently  seen  an  application  of  straw  to  a 


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147 


useful  purpose  of  which  we  had  never  thought,  and  that 
was  in  the  trimming  of  black  net  or  lace  dresses,  the  straAV 
being  bought  in  all  sorts  of  tiny  shapes  and  forms,  and 
worked  on  to  the  material  exactly  as  beads  might  be,  except¬ 
ing  that  each  little  piece  is  laid  down  and  stitched  through 
with  straw-colored  silk.  Black  net  scarfs,  with  the  ends 
embroidered  in  this  way,  are  very  pretty  indeed,  and  flow¬ 
ers  for  black  dresses  can  bo  very  effectively  remodeled  by 
this  means. 

Then  there  is  straw-plaiting.  Lengths  of  willow  ready 
prepared  can  be  obtained  of  any  store  where  milliners’ 
materials  are  kept,  and  it  is  easy  to  plait  it  in  a  threefold 
plait,  the  only  art  lying  in  pressing  each  fold  as  it  is  worked 
perfectly  flat  with  the  thumb.  These  willow  straws  are  all 
sold  of  one  length,  and  a  sufficient  number  are  sent  in  each 
bundle  to  make  a  hat  or  bonnet.  When  the  plaiting  is 
ready,  it  is  sent  to  a  milliner’s  to  be  pressed  and  shaped, 
and  the  result  is  an  exceedingly  light  and  pretty  bonnet  or 
hat.  Straw  is,  in  fact,  a  very  useful  article,  and  one  that 
is  subject  to  a  good  deal  of  experiment.  It  gilds  well ;  a 
piece  of  very  unequal  and  uneven  plaiting  made  up  over 
a  shape,  gilded  and  varnished,  will  turn  out  a  most  respect¬ 
able  article  of  decoration,  and,  if  filled  with  a  glass,  will 
serve  admirably  to  hold  flowers. 

Straw  and  wheat-ears  together  afford  invaluable  oc¬ 
cupation  for  busy  hands.  Straw  baskets  are  easily  made 
by  cutting  straw  lengths  all  of  equal  size  and  fastening 
them  upright  into  a  circular  piece  of  card-board,  either  by 
gluing  them  or  by  fitting  them  into  holes  made  for  the 
purpose  about  a  quarter  of  an  inch  apart.  A  rim  of  card¬ 
board,  which  should  be  one  third  larger  than  the  founda¬ 
tion,  is  punched  with  the  same  number  of  holes,  each  of 
which  is  touched  with  mucilage  before  the  straw  is  intro¬ 
duced  into  it.  Bright  ribbons  are  then  interwoven  with 
the  straws  by  being  passed  over  and  under  them,  basket 


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fashion,  until  the  whole  is  completely  covered  up.  Some 
of  the  remaining  straws  are  then  split  open  and  pressed, 
after  being  dampened,  and  little  loops  are  formed  of  these, 
and  tacked  round  the  rim  of  the  basket,  first  round  the 
outer  edge ;  then  a  second  row  is  placed  over  the  first,  to 
hide  the  stitches,  and  over  the  last  row  a  piece  of  orna¬ 
mental  straw-work,  or  of  chenille,  is  placed.  A  handle  is 
formed  of  card-board,  stiffened  at  the  edges  with  bonnet- 
wire,  and  loops  of  the  straw  form  an  ornament  to  corre¬ 
spond  with  the  basket-rim.  Such  a  basket  can  be  lined 
with  silk  and  finished  off  with  bows  of  ribbon,  and  would 
make  a  very  pretty  receptacle  for  cards.  Individual  taste 
would  suggest  various  improvements,  and  straws  of  differ¬ 
ent  colors  can  as  easily  be  obtained  as  those  of  self-color. 
Numerous  things  can  be  made  in  the  same  way,  a  card¬ 
board  foundation  serving  to  receive  the  straws,  and  allow¬ 
ing  of  a  needle  passing  through  where  necessary.  Match¬ 
boxes,  little  Chinese  pagodas,  cottages,  temples,  will  sug¬ 
gest  themselves,  and  straw-work  will  prove  a  fascinating 
occupation,  even  if  straw  mosaic  should  never  be  attempted, 
which,  however,  it  probably  would,  for  it  is  a  most  easy, 
and  at  the  same  time  a  most  effective,  way  of  using  this 
material. 

For  this  work,  colored  straws  in  every  variety  can  be 
bought  at  fancy  stores  ;  they  are  imported  from  France 
and  Germany,  but  are  sold  at  moderate  prices,  done  up  in 
small  bundles.  Every  tone  and  tint  is  obtainable  in  them, 
from  the  delicate  self-colored  straw  to  the  most  brilliant 
scarlets,  blues,  and  greens,  some  of  them  even  being  coated 
over  with  gold-  and  silver-leaf.  It  is  quite  possible  to  color 
the  straws  at  home  as  well  as  to  make  them  into  patterns, 
and  in  case  our  readers  prefer  to  do  this,  we  advise  them  to 
order  oat-  or  rice-straw,  which  must  be  cut  into  even  lengths 
above  the  knots,  about  six  or  seven  inches  in  length,  and 
boiled  for  a  couple  of  hours  in  clear  soft  water,  then  col- 


MISCELLANEOUS  OCCUPATIONS. 


149 


ored  with  aniline  dyes.  A  foundation  for  mosaic-work  is 
necessary ;  it  can  be  either  of  stiff  card-board  or  of  thin 
wood.  Cigar-boxes  would  serve  the  purpose  admirably. 
Whatever  forms  the  foundation  must  be  coated  with  strong 
cement  made  of  isinglass  dissolved  in  acetic  acid.  The 
design  being  selected,  the  straws  are  cut  of  the  proper  size 
to  cover  the  width  or  length,  as  the  case  may  be,  and  laid 
in  position,  perfectly  straight  and  even.  A  plain,  square 
pattern  would  be  easy  as  a  beginning.  It  is  important,  in 
order  to  give  a  regular  appearance  to  the  work,  that  each 
band  or  square  should  be  exactly  of  the  same  size,  for  which 
reason  a  careful  worker  will  cut  out  a  paper  pattern  first, 
and  cut  the  straws  to  correspond  with  it.  After  each  piece 
is  cut,  it  should  be  laid  upon  a  smooth,  hard  surface,  and 
pressed  with  a  rather  hot  flat-iron,  it  being  always  wise  to 
place  a  paper  over  it  to  preserve  it.  The  pattern  may  be 
formed  either  by  placing  the  pieces  upon  the  wood  or  card¬ 
board  itself,  or  upon  a  piece  of  cloth,  and  afterward  trans¬ 
ferring  it  to  the  straw  for  which  it  is  destined.  It  is  a 
good  plan  for  a  beginner  to  commence  with  small  articles, 
and  in  the  first  attempts  at  all  events  to  make  a  diagram 
upon  the  surface  to  be  covered,  and  to  paint  each  square 
and  block  in  the  colors  which  will  be  selected  for  the  straws. 

When  the  pattern  has  been  decided  upon  and  arranged, 
the  next  thing  needful  is  to  wash  the  surface  to  be  decorated 
with  heavy  cement,  made,  as  suggested,  of  isinglass  and 
acetic  acid.  The  grounding  and  little  square  pieces  must 
be  carefully  placed  in  position  on  the  cement.  To  do  this, 
a  bit  of  pointed  stick  is  needed,  which  can  be  dipped  in 
cement  and  used  to  pick  up  and  place  each  little  bit  of 
straw,  which  could  not  be  so  well  managed  with  the  fingers. 
When  all  the  pieces  are  in  position,  a  warm  flat-iron  must 
be  placed  upon  them,  over  a  sheet  of  paper  or  a  smooth 
cloth.  Designs  in  perfectly  straight  lines  serve  well  for 
borderings ;  it  is  easy  to  arrange  the  pieces  in  bands  and 


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squares,  and  fit  them  together.  Sometimes  a  central  figure 
is  interwoven  in  the  foundation  of  crossed  straws.  To  ac¬ 
complish  this  satisfactorily,  the  straws  must  he  split  and 
pressed  flat.  It  is  not  easy  to  give  the  effect  of  relief  or 
carved  work  in  straw  ;  still  it  can  be  done:  To  accomplish 
it,  the  straws  must  be  opened  down  one  side  with  a  sharp 
knife,  then  soaked  in  hot  water  until  they  are  perfectly  pli¬ 
able,  when  it  is  easy  to  press  them  flat,  so  that  a  broad  strip 
is  produced,  from  which  stamen,  petals,  leaves,  etc.,  can 
be  cut,  which,  in  their  turn,  can  be  gracefully  arranged 
upon  a  surface  ready  coated  with  cement,  while  a  founda¬ 
tion  can  be  made  of  long  straws  fitting  each  other  end  to 
end.  But  such  work  would  not  be  easy,  although  it  might 
be  effective,  and  we  have  seen  very  pretty  flowers,  buds, 
and  leaves  made  in  this  material.  Splint-work,  as  it  is 
called,  is  only  a  modification  of  straw-work.  Many  articles 
are  made  in  it,  and  the  material  used  is  simply  the  split 
willow  which  is  sold  for  pipe-lights.  It  is  pliable,  can  be 
bought  of  all  colors,  and  is  easily  plaited  into  little  basket¬ 
like  receptacles,  or  made  into  frames,  or  plaited  to  form 
mats.  Straw  mats  in  mosaic  would  serve  admirably  for 
placing  under  hot  dishes  at  table.  Some  persons  weave 
such  articles  of  grasses,  first  drying  and  pressing  them  flat ; 
and  they  are  far  from  despicable. 

It  is  indeed  very  difficult  to  limit  the  inventive  genius 
of  people  who  like  to  be  employed,  and  to  whom  an  occu¬ 
pation  is  a  necessity.  In  country  homes  the  most  unlikely 
things  serve  their  turn  in  providing  something  to  do.  . 
Painting  on  fungi,  for  example,  would  not  readily  suggest 
itself  to  a  city-bred  person,  and  yet  such  attempts  are  really 
beautiful.  We  have  seen  a  large  fungus,  the  under  surface 
of  which  was  made  the  foundation  of  an  exquisite  painting, 
and  this  was  carried  out  upon  the  fungus  in  its  natural 
condition,  exactly  as  it  was  brought  in  from  the  wood. 
Etching  upon  this  odd  natural  material  is  quite  common  in 


MISCELLANEOUS  OCCUPATIONS. 


151 


some  parts  of  the  country,  and  highly  etfective ;  quite 
astonishing  results  are  accomplished  in  it. 

Of  rustic-work  wc  have  already  spoken  in  connection 
with  frames  ;  but  the  remarks  we  made  scarcely  exhausted 
the  possibilities  of  the  subject.  Lichens  are  invaluable  in 
such  work,  forming  a  beautiful  foundation,  upon  which 
seed-pods,  acorns,  and  burrs  are  mounted. 

Many  English  writers  have  expressed  surprise  at  the  use 
made  in  American  homes  of  material  which  in  their  own 
country  is  neglected  ;  for  in  England  rustic- work  seldom 
amounts  to  more  than  the  decoration  of  window-boxes  with 
odds  and  ends  of  wood,  twigs,  etc.,  or  the  fashioning  of  bas¬ 
kets,  hawked  in  the  street  in  the  lower  quarters  of  towns 
and  cities.  Now  and  then  some  lover  of  the  beautiful 
things  which  lie  scattered  wholesale  in  the  lovely  English 
woods  will  achieve  a  work  of  the  kind  ;  but  for  the  most 
part  it  is  neglected.  In  France  and  Germany,  on  the  con¬ 
trary,  clever  hands  are  always  busy  in  turning  to  account 
treasures  which  cost  nothing  but  the  gathering,  and  many 
homes  are  beautified  by  the  use  of  burrs,  seed-pods,  and 
acorns.  Any  one  who  is  ambitious  of  good  results  at  lit¬ 
tle  cost  can  spend  a  few  hours  in  the  early  fall  in  making 
a  collection  of  such  things,  and  especially  of  pine-cones, 
and  he  will  be  amply  rewarded  by  the  many  beautiful 
articles  that  can  be  fashioned  from  them. 

The  rustic  basket,  for  example,  needs  only  a  foundation 
shape  of  strong  card-board  ;  and  we  may  add  that  for  all 
rustic-work  the  needs,  in  addition  to  the  material  selected 
for  foundation,  are  only  copal  varnish,  a  camel’s-hair  brush, 
strong  needles  and  thread,  tacks,  a  hammer,  and  a  brad¬ 
awl.  Armed  with  these,  and  the  treasures  collected  in  some 
woodland  excursion,  occupation  will  be  found  which  will 
result  in  many  pretty  things. 

To  return  to  our  basket.  The  shape  having  been  decided 
upon  and  the  materials  collected  all  ready  to  hand,  the  best 


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way  is  to  coyer  the  pasteboard  foundation  with  strong 
brown  paper ;  and,  to  make  a  beginning,  large  cone-scales 
can  be  sewed  round  the  edge,  the  stitches  which  fasten 
them  being  covered  by  smaller  cones  sewed  over,  and  con¬ 
tinuing  thus  until  a  sufficient  depth  is  covered,  laying  the 
last  row  one  over  the  other  in  such  a  way  that  the  points 
of  one  row  always  come  between  the  points  of  the  last.  The 
outline,  if  we  may  so  call  it,  of  the  basket  being  made  in 
this  way,  and  the  handle  in  the  same  manner,  the  other 
treasures  are  called  into  requisition,  and  arranged  accord¬ 
ing  to  individual  taste.  Every  variety  can  find  a  place — 
bits  of  lichen,  old  brown  moss,  acorns,  nuts,  pieces  of  bark, 
burrs,  berries,  seed-vessels,  anything  and  everything  arranged 
with  taste  and  care  to  cover  every  bit  of  card-board.  Often 
the  smaller  articles  are  best  put  on  with  glue,  and  dropped 
in  the  crevices,  or  stuck  over  others,  as  taste  may  suggest. 
When  all  are  arranged  and  thoroughly  dried,  the  best  thing 
is  to  varnish  the  work  with  the  copal  varnish,  the  camel’s- 
hair  brush  with  which  it  is  applied  being  worked  into  every 
little  crack,  corner,  or  space.  Such  a  basket  can  be  lined 
with  silk  or  satin,  and  would  make  a  handsome  present ; 
and,  if  it  is  the  first  piece  of  rustic- work  attempted,  it  will 
infallibly  lead  to  more.  Different  kinds  of  boxes  can  be 
made  beautiful  by  the  tasty  application  of  rustic-work,  and, 
as  we  have  said  elsewhere,  frames  in  these  varied  materials 
are  beautiful.  An  effective  one  upon  which  to  mount  a 
thermometer  or  a  watch-stand  can  be  made  by  framing  pat¬ 
terns  of  the  pine-cone  seeds,  and  varying  them  by  the  in¬ 
troduction  of  catkins,  beech-nut  hulls,  acorns,  burrs,  etc., 
gluing  them  on. 

Rustic-work  is  specially  suitable  for  brackets,  and,  if  the 
materials  are  well  selected  and  arranged,  it  will  have  all  the 
appearance  of  carving  in  relief.  Key-racks,  hanging-bas¬ 
kets,  mirror-frames,  even  lambrequins,  have  all  been  effect¬ 
ively  made  by  a  judicious  use  of  the  treasures  of  the  woods. 


MISCELLANEO  US  OGC  UP  A  TI ONS.  153 

Individual  taste  and  invention  form  the  only  limitation  of 
the  uses  to  which  they  can  be  put. 

Cocoa-nut  shells,  again,  are  among  the  natural  objects 
that  can  he  pressed  into  service,  and  made  to  afford  oc¬ 
cupation  for  busy  hands.  "W  hen  the  meat  has  all  been 
extracted,  the  half-shells  can  be  utilized  in  many  ways. 
Fastened  on  to  a  flat  background  of  polished  walnut,  they 
will  serve  as  receptacles  for  flowers,  plants,  etc.  If  placed 
in  an  upright  position,  by  the  aid  of  strong  glue,  or  if  at¬ 
tached  by  means  of  nails  and  surrounded  by  acorns,  cones, 
and  other  rustic  articles,  they  make  a  pleasing  wall  orna¬ 
ment.  Hanging-baskets  are  easily  made  of  them,  by  having 
a  base  of  wood  made,  and  arranging  upon  it  three  half 
cocoa-nuts,  with  holes  drilled  in  the  bottom  to  admit  of  a 
screw,  by  which  they  are  fastened  securely  in  position. 
“  Chasers’  cement,”  as  it  is  called,  is  the  best  thing  for 
securing  the  acorns,  etc.,  to  the  rough  surface  of  the  cocoa- 
nut  5  and,  if  it  is  not  readily  obtained,  a  substitute  for  it 
can  easily  be  made  at  home  by  taking  half  a  pound  of  rosin 
or  pitch,  and  letting  it  melt  gradually  in  an  iron  pot.  Into 
it  yellow  ochre,  in  powder,  should  be  stirred  by  degrees, 
and  a  piece  of  wax  the  size  of  a  hazel-nut,  and  a  smaller 
piece  of  wax  melted  into  it.  TV  hen  cold,  this  composition 
can  be  cut  up  into  bars  or  cakes,  to  be  used  as  needed. 
Upon  application  to  heat,  it  will  readily  melt  again,  and  be 
fit  for  use.  Holes  can  be  drilled  in  the  cocoa-nut  shells  for 
the  insertion  of  wire  or  cord  to  hang  them  up,  and,  if  creep¬ 
ing  plants  are  grown  in  them,  the  effect  will  be  very  gi  ace¬ 
ful  and  pretty. 

Quite  a  different  style  of  occupation  is  that  afforded  by 
the  fashionable  Indian  painting  which  the  importation  of 
articles  from  the  East  has  made  popular,  to  those  who 
are  not  already  familiar  with  it,  a  few  directions  may  have 
a  value.  All  that  is  needed  to  undertake  such  woik  with 
success  is  a  share  of  patience,  and  a  little  care  and  delicacy 


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in  the  manipulation  of  the  materials.  This  form  of  deco¬ 
ration  is  suitable  for  tables,  stands,  boxes,  book-racks,  or, 
indeed,  anything  which  presents  a  perfectly  smooth  surface. 
As  much  depends  upon  this  smoothness  of  the  surface,  it  is 
desirable  to  have  it  highly  polished  before  beginning  the 
operation  of  outlining  the  design. 

Lamp-black  and  turpentine  must  be  mixed  in  a  saucer 
to  the  consistency  of  thick  cream,  and,  after  the  design 
to  be  reproduced  has  been  selected,  cut  out  carefully  in 
white  paper,  and  fastened  to  the  surface  of  the  wood  by 
means  of  pins,  the  coloring  of  the  article  may  commence. 
The  object  being  to  have  a  perfectly  outlined  white  design 
upon  a  perfectly  black  surface,  a  small  brush  is  dipped  in 
the  mixture  of  lamp-black  and  turpentine,  and  carefully 
carried  round  the  edge  of  the  design  ;  then  carried  further, 
until  the  whole  surface  is  covered,  with  the  exception  of 
that  over  which  the  design  is  laid.  The  first  coating  of 
paint  must  be  allowed  to  dry  before  a  second  is  laid  on. 
Then  the  operation  must  be  repeated  until  a  dense  black  is 
obtained,  and,  after  letting  it  dry  quite  thoroughly,  it  re¬ 
quires  varnishing  with  the  finest  copal  varnish  that  can  be 
procured.  The  paper  design  imist  then  be  removed,  and, 
if  it  sticks,  must  be  moistened  in  order  to  'bring  it  com¬ 
pletely  away.  The  design  will  be  found  clearly  outlined  on 
the  black  surface,  and  can  be  shaded  or  stippled  with  Indian 
ink,  dark  lines  being  veined  in  where  necessary.  After  it  is 
thoroughly  dry,  copal  varnish  should  be  applied  again,  and 
when  that  in  turn  is  dried,  the  surface  should  be  rubbed 
thoroughly  with  pumice-stone  ;  this  in  turn  is  washed  off 
with  clear  water,  and,  when  dry,  the  surface  is  revarnished, 
and  rubbed  down  with  a  soft  flannel,  the  process  of  varnish¬ 
ing  being  repeated  again  and  again,  until  a  perfect  polish 
is  obtained. 

It  will  be  seen  at  once  that  any  design  accurately  cut  in 
paper  can  thus  be  easily  reproduced  upon  a  polished  sur- 


MISCELLANEO  US  0  CCUPA  TIONS. 


155 


face,  and  this  form  of  ornamentation  can  be  applied  indif¬ 
ferently  to  any  object  which  presents  a  flat  foundation.  If 
applied  to  the  top  of  a  table,  great  care  must  be  taken  after¬ 
ward  to  avoid  scratching  it,  as  every  mark  shows  ujion  the 
highly  polished  surface.  Leaves,  flowers,  and  butterflies, 
scattered  carelessly  over  the  table-top  as  if  thrown  down, 
look  very  well  in  this  style  of  work. 

In  the  suggestions  for  home  occupations  which  we  have 
offered  in  this  little  book,  we  have  carefully  avoided  all 
mention  of  those  which  come  under  the  head  of  duty  or  of 
amusement,  and  also  of  almost  all  that  partake  of  a  seden¬ 
tary  character,  as,  for  example,  reading,  sewing,  or  the  cul¬ 
tivation  of  accomplishments.  We  have  restricted  ourselves 
in  our  mention  of  the  art  of  painting  to  that  of  its  applica¬ 
tion  to  the  ornamentation  of  readily  made  articles,  and  our 
endeavor  has  been  rather  to  suggest  occupations  out  of 
which  others  might  spring  than  to  lay  down  any  definite 
rules  or  plans  for  regular  employment.  Our  field  of  obser¬ 
vation  has  been  necessarily  narrowed  by  these  limitations, 
but  we  trust  that  our  directions  for  the  occupations  suitable 
for  leisure  hours  may  be  found  sufficiently  thorough  to 
assist  those  who  embark  upon  them  in  carrying  them  out 
to  a  successful  issue. 


THE  END. 


APPLETONS’ 

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Errors  in  the  Use  of  English. 

By  the  late  William  B.  Hodgson,  LL.  D.,  Professor  of  Political  Economy 
in  the  University  of  Edinburgh.  American  revised  edition. 
12mo,  cloth,  $1.50. 

“  This  posthumous  work  of  Dr.  Hodgson  deserves  a  hearty  welcome,  for  it  is 
sure  to  do  good  service  for  the  object  it  has  in  view— improved  accuracy  in  the 
use  of  the  English  language.  .  .  .  Perhaps  its  chief  use  will  be  in  very  distinctly 
proving  with  what  wonderful  carelessness  or  incompetency  the  English  language 
is  generally  written.  For  the  examples  of  error  here  brought  together  are  not 
picked  from  obscure  or  inferior  writings.  Among  the  grammatical  sinners  whose 
trespasses  are  here  recorded  appear  many  of  our  best-known  authors  and  publi¬ 
cations.”—  The  Academy. 


The  Orthoepist : 

A  Pronouncing  Manual,  containing  about  Three  Thousand  Five  Hundred 
Words,  including  a  Considerable  Number  of  the  Names  of  Foreign 
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The  Verbalist: 

A  Manual  devoted  to  Brief  Discussions  of  the  Right  and  the  Wrong  Use 
of  Words,  and  to  some  other  Matters  of  Interest  to  those  who 
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The  Rhymester ; 

Or,  The  Rules  of  Rhyme.  A  Guide  to  English  Versification.  With  a 
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Comments  upon  Burlesque,  Comic  Verse,  and  Song-Writing.  By 
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Uniform  with  “The  Verbalist.”  18mo,  cloth,  gilt  or  red  edges, 
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“Ten  or  a  dozen  years  ago,  the  late  Tom  Hood,  also  a  poet,  and  the  son  of  a  poet, 
published  ‘The  Rules  of  Rhyme,’  of  which  we  have  a  substantial  reprint  in ‘The 
Rhymester,’  with  additions  and  side-lights  from  its  American  editor,  Arthur  Penn. 
The  example  of  Hood's  great  father  in  his  matchless  melodies,  his  own  skill  as  a  cun¬ 
ning  versifier,  and  the  accomplished  editing  of  Mr.  Penn,  have  made  this  booklet  a 
useful  guide  to  English  versification,  the  most  useful  one,  indeed,  that  we  are  acquainted 
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Sixth  volume  of  “  Classical  Writers,”  edited  hy  Professor  J.  It.  Green. 
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and  thorough  in  method.” — The  Academy. 

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son,  LL  D.,  Professor  of  Political  Economy  in  the  University  of  Edin¬ 
burgh.  American  revised  edition.  12mo,  cloth,  $1.50. 

“This  posthumous  work  of  Dr.  Hodgson  deserves  a  hearty  welcome,  for  it  is 
sure  to  do  good  service  for  the  object  it  has  in  view-improved  accuracy  in  the 
use  of  the  English  language.  .  .  .  Perhaps  its  chief  use  will  be  in  very  distinctly 
proving  with  what  wonderful  carelessness  or  incompetency  the  English  language 
i-i  generally  written.  For  the  examples  of  error  here  brought  together  are  not 
picked  from  obscure  or  inferior  writings.  Among  the  grammatical  sinners  whose 
trespasses  are  here  recorded  appear  many  of  our  best-known  authors  aud  publi¬ 
cations.”—  The  Academy. 


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the  record  of  the  long  series  of  observations  contained  in  the  memoir  on  the  vitality  of 
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would,  indeed,  be  difficult  to  quote  a  better  example  of  the  method  and  the  spirit  with 
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of  sense.  The  principal  point  in  which  Sir  John’s  mode  of  experiment  differs  from 
those  of  Huber,  Forel,  McCook,  and  others,  is  that  he  has  carefully  watched  and 
marked  particular  insects,  and  has  had  their  nests  under  observation  for  long_periods 
. — one  of  his  ants’  nests  having  been  under  constant  inspection  ever  since  1874.  His 
observations  are  made  principally  upon  ants  because  they  show  more  power  and  flexi¬ 
bility  of  mind;  and  the  value  of  his  studies  is  that  they  belong  to  the  department  of 
original  research.” 

DISEASES  OF  MEMORY  ;  An  Essay  in  the  Positive  Psychology.  By  Tn. 
Ribot,  author  of  “  Heredity,”  etc.  Translated  from  the  French  by  William 
Huntington  Smith.  12mo,  cloth,  $1.50. 

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subject  in  this  form ;  .  .  .  the  volume  will  bring  to  the  reader's  attention  many  ac¬ 
counts  of  peculiar  cases,  scattered  over  a  wide  field  of  research,  and  only  now  brought 
together  in  a  connected  form.” — From  the  Preface. 

THE  PROPHETS  OF  ISRAEL,  AND  THEIR  PLACE  IN  HIS¬ 
TORY,  to  the  Close  of  the  Eighth  Century  B.  C.  By  W.  Rob¬ 
ertson  Smith,  M.  A.,  LL.  D.,  author  of  “The  Old  Testament  in  the  Jewish 
Church.”  12mo,  cloth,  $1.75. 

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thing  of  the  facts  of  the  Bible  will  learn  much  from  the  felicitousness  of  tlie  present  ex¬ 
position.  For  Mr.  Robertson  Smith  is  not  only  a  ‘full  man,’  but  has  a  singular  gut  of 
making  a  hard  subject  intelligible.  .  .  .  He  loves  to  blow  away  the  mists  of  controversy 

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THE  HISTORY  OF  ENGLAND  IN  THE  EIGHTEENTH  CEN¬ 
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MONTESQUIEU’S  CONSIDERATIONS  ON  THE  CAUSES  OF 
THE  GRANDEUR  AND  DECADENCE  OF  THE  ROMANS. 

A  New  Translation,  together  with  an  Introduction,  Critical  and  Illustrative 
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Professor  Huxley’s  contributions  to  the  literature  of  science.  Louclon  Academy. 

“  It  is  refreshing  to  be  brought  into  converse  with  one  of  the  most  vigorous 
and  acute  thinkers  of  our  time,  who  has  the  power  of  putting  his  thoughts  into 
language  so  clear  and  forcible.” — London  Spectator . 

PHYSICAL  EDUCATION ;  or,  The  Health  Laws  of  Nature.  By 

Felix  L.  Oswald,  M.  D.  12mo.  Cloth,  $1.00. 

The  greater  part  of  the  contents  of  this  volume  appeared  in  a  series  of  papers 
in  “  The  Popular  Science  Monthly,”  where  they  attracted  wide  attention  on  ac¬ 
count  of  the  freshness  of  many  of  the  ideas  and  the  force  with  which  they  were 
presented.  No  recent  book  on  this  subject  is  marked  with  so  much  special 
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MEMORIES  OF  MY  EXIEE.  By  Louis  Kossuth.  Translated  from  the 
original  Hungarian  by  Ferencz  Jausz.  One  vol.,  crown  8vo.  Cloth. 
Price,  $2  00. 

"A  most  piquant  and  instructive  contribution  to  contemporary  history.”— 
New  York  Sun. 

“  These  ‘  Memories  ’  disclose  a  curious  episode  in  the  inner  life  of  English  do¬ 
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THE  HISTORICAL  POETRY  OF  THE  ANCIENT  HEBREWS. 

Translated  and  critically  examined  by  Michael  Heilprin.  Voi.  II. 
Crown  8vo.  Cloth.  Price,  $2.00, 

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sistent  fascination.  But  the  reverence  of  Mr.  Heilprin  for  tbe  subject-matter  of 
his  criticism  could  hardly  be  surpassed;  and,  that  it  has  not  lost  its  power  to 
interest  and  charm,  his  book  itself  is  ample  evidence,  which  will  be  reenforced 
by  the  experience  of  every  intelligent  reader  of  its  too  brief  contents.”— Yew  York 
Nation ,  July  24,  1879. 

HEALTH.  By  W.  H.  Corfield,  Professor  of  Hygiene  and  Public  Health  at 
University  College,  London.  12mo.  Cloth.  Price,  $1.25. 

FRENCH  MEN  OF  LETTERS.  Personal  and  Anecdotical  Sketches  of 
Victor  Hugo;  Alfred  de  Musset;  Theophile  Gautier;  Henri  Mur- 
ger;  Sainte-Beuve;  Gerard  de  Nerval;  Alexander  Dumas,  fils; 
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A  THOUSAND  FLASHES  OF  FRENCH  WIT,  WISDOM,  AND 
WICKEDNESS.  Collected  and  translated  by  J.  de  Finod.  One  vol., 
16mo.  Cloth.  Price,  $1.00. 

This  work  consists  of  a  collection  of  wise  and  brilliant  sayings  from  French 
writers,  making  a  rich  and  piquant  book  of  fresh  quotations. 

“  The  book  is  a  charming  one  to  take  up  for  an  idle  moment  during  the  warm 
weather,  and  is  just  the  thing  to  read  on  the  hotel  piazza  to  a  mixed  company 
of  ladies  and  gentlemen.  Some  of  its  sayings  about  the  first  mentioned  would 
no  doubt  occasion  lively  discussion,  but  that  is  just  what  is  needed  to  dispel  the 
often  wellnigh  intolerable  languor  of  a  summer  afternoon.” — Boston  Courier. 

SCIENTIFIC  BILLIARDS.  Garnier's  Practice  Shots,  with  Hints  to  Ama¬ 
teurs.  With  10fi  Diagrams  in  Colors.  By  Albert  Garnier.  Oblong 
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7HE  BRAIN  AS  AN  ORGAN  OF  MIND.  By  H.  Charlton  Bastian, 
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don;  author  of  “Paralysis  from  Brain  Disease.”  With  numerous  Illus¬ 
trations.  One  vol.,  12mo,  108  pages.  Cloth.  Price,  $2.50. 

“The  fullest  scientific  exposition  yet  published  of  the  views  held  on  the  sub¬ 
ject  of  psychology  by  the  advanced  physiological  school.  It  teems  with  new 
and  suggestive  ideas;  and,  though  the  author  displays  throughout  his  customary 
boldness  of  speculation,  he  does  not  allow  himself  to  be  carried  away  so  freely 
as  of  old  by  his  own  exuberant  wealth  of  ‘scientific  imagination.’” — London 
Athenceum. 


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Manufactures,  Professions,  and  Trades,  etc.,  etc.  Sixth  edition,  revised 
and  partly  rewritten  by  Professor  Richard  Y.  Tuson.  Volume  two,  com¬ 
pleting  the  work,  now  ready.  8vo,  1,796  pages  (complete).  Price,  $4.50 
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A  HISTORY  OF  PHILOSOPHY  IN  EPITOME.  By  Albert  Schweg- 
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H.  Seelye.  Revised  from  the  ninth  German  edition,  containing  Important 
Additions  and  Modifications,  with  an  Appendix,  continuing  the  History 
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Benjamin  T.  Smith.  12ino,  469  pages.  Cloth.  Price,  $2.00. 

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LIVY.  By  the  Rev.  W.  W.  Capes,  M.  A.  Fifth  Volume  in  “  Classical 
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LL.  D.,  Professor  of  Materia  Medica  and  General  Therapeutics  in  the  Jef¬ 
ferson  Medical  College  of  Philadelphia.  In  one  volume,  8vo,  853  pages. 
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STRATEGOS  :  A  SERIES  OP  AMERICAN  GAMES  OP  WAR,  based  upon 
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In  two  vols.  Vol.  I,  Text  and  Appendices;  Voi.  II,  Plates,  Tables,  and 
Statistics.  Cloth.  Price,  $3.00. 


THE  FORESTERS.  A  Novel.  By  Berthold  Auerbach.  Appletons’  “  New 
Handy-Volume  Series.”  18mo.  Paper.  Price,  50  cents. 

“  The  plot  of  this  novel  is  slight,  but  skillfully  told,  the  characters  well  em¬ 
phasized  and  graphically  depicted.  The  action  passes  among  rather  a  higher 
section  of  society  than  is  usually  chosen  by  Auerbach,  and  notably  among  the 
foresters,  officials  of  the  Public  Forest  Department— that  body  of  whose  learning 
and  intelligence  in  preserving  her  forests  Germany  may  be  justly  proud.  It  is 
readable  as  well  as  instructive,  and  possesses  the  further  merit,  rare  in  a  German 
novel,  of  brevity.” — London  Athenaeum. 


COOPER’S  “LEATHER-STOCKING  TALES”  and  “SEA  TALES.” 

New  and  remarkably  Cheap  Editions. 

THE  LEATHER-STOCKING  TALES.  By  J.  Fenimore  Cooper.  Complete 
in  one  volume,  8vo.  With  Illustrations  by  F.  O.  C.  Darley.  In  cloth,  with 
gilt  side  and  back.  Price,  $2.00. 

THE  SEA  TALES.  By  J.  Fenimore  Cooper.  Complete  in  one  volume, 
8vo.  With  Illustrations  by  F.  O.  C.  Darley.  Cloth,  with  gilt  side  and  back. 
Price,  $2,00. 


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FROM  'DEATH  INTO  EIFE;  Ob,  TWENTY  YEARS  OP  MY  MINIS¬ 
TRY.  By  the  Rev.  W.  Haslam,  author  of  “  Building  from  the  Top,”  “  The 
Threefold  Gift  of  God,”  etc.  1  vol.,  12mo.  With  Illustrations.  Cloth. 
Price,  $1.50. 

The  work  is  a  narrative  of  remarkable  religious  and  ministerial  experiences 
in  a  mining  district  in  England,  among  a  rude,  hearty,  hardy,  and  industrious 
people.  .  .  .  The  hook  is  taken  up  with  the  sensation  created  by  his  new  style 
of  preaching,  by  accounts  of  numerous  individual  conversions,  and  of  revivals 
among  his  tumultuous  and  enthusiastic  audienoe.  It  has  attained  a  great  suc¬ 
cess  in  England. 

STUDIES  IN  THE  MOUNTAIN  INSTRUCTION.  By  George  Dana 
Boardman,  D.  D.,  author  of  “  Studies  in  the  Creative  Week,”  “  Studies  in 
the  Model  Prayer,”  etc.  One  vol.,  12mo.  Cloth.  Price,  $1.25. 

“  This  hook  consists  of  lectures,  nine  of  which  were  delivered  in  Association 
Hall,  Philadelphia,  on  successive  Tuesday  noons,  during  the  autumu  of  1880. 
Accordingly,  its  style  is  marked  by  the  characteristics  of  oral  address. 

»  As  the  Instruction  of  the  Mountain  underlies  Authoritative  Morality, 
the  author  sincerely  hopes  that  the  publication  of  these  lectures  may  be  of  ser- 
vice  in  directing  attention  to  Christian  ethics,  or  the  foundation-stones  oi  true 
society  ."—Preface. 

UNCEE  REMUS :  HIS  SONGS  AND  HIS  SAYINGS.  The  Folk-Lore  of 
the  Old  Plantation.  By  Joel  Chandler  Harris.  1  vol.,  12mo.  Cloth. 
Illustrated  from  Drawings  by  P.  S.  Church,  whose  humorous  animal  draw¬ 
ings  are  so  well  known,  and  J.  H.  Moser,  of  Georgia.  Price,  $1.75. 

“These  sketches  embody  the  best  imitation  of  the  negro  dialect,  character, 
and  customs  yet  attempted.  They  are  natural,  graphic,  and  amusing  to  young 
and  old,  and  will  be  doubly  appreciated  by  those  in  the  South  who  have  still  a 
soft  spot  in  their  hearts  for  the  good  old  time,  and  a  tear  trembling  in  the  eyelid 
and  ready  to  be  shed  to  the  memory  of  the  sable  ‘  uncles  ’  and  ‘  aunties  ’  of  their 
youth.” — New  Orleans  Picayune. 

ENDYMION.  By  the  Right  non.  Benjamin  Disraeli,  Earl  of  Beaconsfield. 
8vo,  paper,  75  cents;  12mo,  cloth,  $1.50. 

MASHAEEAH!  A  FLIGHT  INTO  EGYPT.  A  BOOK  OF  ADVEN¬ 
TURES  AND  TRAVEL  ON  THE  NILE.  By  Charles  Warren  Stod¬ 
dard,  author  of  “  South-Sea  Idyls.”  Appletons’  “New  naudy -Volume 
Series.”  Paper,  30  cents;  cloth,  60  cents. 

POVERINA.  An  Italian  Story.  Appletons’  “New  nandy-Volume  Scries.” 
18mo.  Paper.  Price,  25  cents. 


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AMERICAN  PAINTERS-  New  and  enlarged  edition,  containing  Biograph¬ 
ical  Sketches  of  Sixty-eight  American  Artists,  with  One  Hundred  and  Four 
Examples  of  their  Work,  engraved  on  Wood  in  the  most  perfect  mauner. 
One  volume,  quarto,  cloth,  extra  gilt,  price,  $8.00  ;  in  full  morocco,  $15.00. 

A  new  edition  of  this  superb  work  is  now  ready,  extending  the  number  of  en¬ 
gravings  from  eighty-three  to  one  hundred  and  four ,  representing  sixty-eight  of 
the  leading  painters.  No  similar  work,  in  any  country,  illustrative  of  con¬ 
temporaneous  art,  surpasses  it  in  the  number  or  excellence  of  its  engravings. 

BRITISH  PAINTERS.  With  Eighty  Examples  of  their  Work  engraved  on 
Wood.  One  volume,  quarto,  cloth,  extra  gilt,  price,  $6.00;  full  morocco, 
$12.00. 

“British  Painters,”  in  size  and  general  character,  is  a  companion-work  to 
“American  Painters.”  It  contains  eighty  examples  of  their  work,  engraved  on 
wood,  representing  forty  painters,  including  Turner,  Constable,  Mulready,  Wil¬ 
kie,  Haydon,  Etty7  Eastlake,  Stanfield,  Landseer,  and  Creswick,  among  earlier 
painters,  and  Faed,  Alma-Tadema,  Poyoter,  Walker,  Holl,  Patou,  and  Keviere, 
among  contemporaneous  painters. 

A  PHYSICAL  TREATISE  ON  ELECTRICITY  AND  MAGNETISM. 

By  J.  E.  H.  Gordon,  B.  A.,  Assistant  Secretary  of  the  British  Association. 
8vo,  with  about  200  full-page  and  other  Illustrations.  Cloth,  price,  $7.00. 

“The  want  has  long  been  felt  of  a  work  on  Electricity,  which  should  treat 
the  subject  much  more  fully  than  is  done  in  the  existing  elementary  works,  and 
which  should,  at  the  same  time,  regard  it  from  a  physical  as  distinguished  from 
a  mathematical  point  of  view.  In  this  work  the  author  has  attempted  to  meet 
the  above  want.  All  the  higher  and  later  experimental  developments  of  the  sci¬ 
ence  are  treated  of,  but  without  the  use  of  symbolical  mathematics.  Every  phe¬ 
nomenon  is  considered,  not  as  a  mathematical  abstraction,  but  as  something 
having  a  real  physical  existence.  It  contains  matter  which,  as  far  as  the  author 
is  aware,  has  not  yet  appeared  in  any  text-book.”—  Extract  from  Preface. 

THE  ORTHOEPIST.  A  Pronouncing  Manual,  containing  about  Three 
Thousand  Five  Hundred  Words,  including  a  considerable  number 
of  the  Names  of  Foreign  Authors,  Artists,  etc.,  that  are  often 
mispronounced.  By  Alfred  Ayres.  One  volume,  18mo.  Cloth,  price, 
$1.00. 

This  manual  will  be  found  invaluable  to  all  persons  desirous  of  making  their 
pronunciation  conform  to  the  best  usage  and  established  authority. 

A  BRIEF  SYNOPSIS  OF  THE  COLLECTION  LAWS  OF  THE 
UNITED  STATES  AND  CANADA.  Compiled  under  the  direction 
of  Douglass  and  Minton,  Attorneys  of  the  Law  and  Collection  Depart¬ 
ment  of  the  Mercantile  Agency  of  Dun,  Wirnan  &  Co.  One  volume,  8vo. 
Cloth,  price,  $1.50. 

This  book  will  supply  a  want  long  felt  by  the  business  community,  giving  in 
a  nutshell,  as  it  were,  the  more  important  features  of  the  laws  relating  to  the 
collection  of  debts  throughout  the  whole  country. 


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THE 


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Is  Eased  upon  a  scientific  analysis  of  the  celebrated 
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